#isabella rossini

[occult-roommates]

I don't know why I even tried...

The summit had officially started. A grand dinner had been organized for only the most elite of spellcasters, right before a speech by Giuseppe where he would tell his side of the Delfina Baradoz story. Officially, Daniele wasn't invited, but his aunt and uncle were invited, so they brought him with them, as they knew seeing Giuseppe in person would mean the world to him. Though let's be real, he would have prefered if it wasn't under those circumstances.

At the banquet, Daniele felt so out of place. Not only was he not invited here, he knows it's only a matter of time before he's just straight up forbidden from entering the Magic Realm. Hell, he won't even be able to cast the spell to open the portal. As to make his feeling of imposture even worse, he had lost his hat at the airport, and now he's in a formal event with his hair uncovered, and people will see him as a freaking slut. How could he even be a slut, does he look like he's having sex?!

As if all of that wasn't enough, of course, his parents were there. Why wouldn't they be?

His father, Roberto, he's not that afraid of him. He's a weak pathetic little man who does everything his wife tells him to, even though he probably doesn't even love her. The two got kinda forcibly married as their family were both rich and powerful, and because there barely were other options for spellcasters in Tartosa. You know, some real medieval bullshit even though this all went down in the early 90s.

His mother, Camilla, that's who Daniele is really afraid of. She's a vile woman, the reason why he's been kicked out of the family house in the first place. Word cannot express how much he hates that bitch, but there exist an avant-garde dance which you are free to imagine right now. However, you know, today he's gotta act polite, and who knows...If Dawud can reconcile with his mother, why couldn't he?

The last woman at the table, the spellcastress in red, was named Diana Silvercloud and yes, she is Lilah's mother. Daniele had heard of her before, as her family are the founders of Magnolia Promenade, a small town which is now a suburb of Willow Creek. However, he had never met her, he didn't even know what she looked like.

Nervously, he approached the table, but before he could sneak a word in, he heard the conversation.

Diana: So is it a boy or a girl? Camilla: It's going to be a girl, and she should be born somewhere in late January. Diana: Aren't you afraid she's gonna be...you know... Camilla: Not at all, Roberto and I used IVF to ensure she's gonna be born normal.

Wait...No, he must have misunderstood. There is no way his parents are having another baby. He's 22, he's too old to be getting a new sibling for the first time, and Camilla is 54 years old! His mother always claimed she's never going through the hell of pregnancy again, even if that means she's never giving the family a female heir as is expected of a spellcastress. Whatever happened, seems like she changed her mind.

Then again, yes, chronologically speaking, Camilla is 54, but physically she is much younger. Not only do spellcasters age more slowly than humans and live longer, it is very common for them to use magic to keep their youth for as long as possible. As a result, it's not unusual for family of spellcasters to have huge age gap between the siblings. Look at Diana for example, in her early 20s, she famously was in Giuseppe's harem and had a son with him, she even came close to marrying him. Then, as to make this extremely weird, 50 years later she got married instead to another one of Giuseppe's son and they had Lilah together. Does this woman look like she was born while the prohibition was in full swing?

Daniele: H-Hi. Camilla: What are you doing here? Isabella: I invited him. He is a part of this family whether you like it or not. Daniele: Can I talk to you for a sec?

He pulled his mother aside, and yeah, he understood correctly, he's gonna have a little sibling. Fuck. On top of that, it became clear Camilla was furious to see him here.

Daniele: Hi mom. It's been so long. Camilla: Get out of this place. You do not belong here and you know it. Daniele: I know I don't belong here, but I still have my powers so... Camilla: Don't you know how embarrassing it is for you to show up here? My entire family is ashamed of me for bringing another human into this world instead of a spellcaster. Daniele: I am not a human, and why are you talking as if it's not also my family? And no, they're not, aunt Isabella raised me when you and dad decided you were too good to have me as your son! Camilla: And you're not even wearing a spellcaster hat, what will people think? Daniele: You're not wearing one either! Camilla: It was designed by Isabella so it counts.

This all turned into a messy, petty arguments where they were insulting each other as if they were two kindergarteners instead of, you know, a mother and her son. Eventually, Daniele broke down and ran to the bathroom to go cry in peace.

Isabella: She's an awful person you know that...

She did sound pretty jaded saying this, she's used to it at this point. By virtue of being Camilla's younger sister, that means Isabella had the misfortune of knowing that woman literally her entire life. Roberto said nothing and did nothing, whatever was on his mind at that time, the world will never know.

Meanwhile, Daniele hid in the bathroom. What was he expecting? He did not want to sob, he's a grown man not a little boy, but fuck was it hard. What did he do to deserve such vitriol from his own mother? It's not like he asked being born like that.

You know what, maybe Matteo is right. The spellcasting world is awful and corrupt, and he's currently walking around it with a huge target on his back. But this is fine, he has a plan, a huge plan, he will tell these bunch of close-minded magical morons what he really think about them. The spellcasting world will remember this day for a long long time.

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#ts4 #sims 4 #the sims 4 #simblr #ts4 simblr #sims story #ts4 story #sims 4 story #occult roommates #daniele rossini #camilla rossini #isabella rossini #roberto constantini #diana silvercloud #OcRo s2

[widevibratobitch]

stop letting coloratura sopranos sing Rosina or istg

#and if they do wanna sing it sooo badly - sing the original notes Rossini wrote :) #oh whats that? you cant? you cant because you're practically inaudible below G5? damn too bad isnt it... :)))) #no but fr. why. there's so many roles written for a high voice. why rosina. and why not cenerentola or isabella or other rossini roles?? #ok im being harsh. i dont mind a good coloratura adding some high notes IF she can also sing in the lower octaves #but im listening to a recording with Di Stefano who is absolutely sublime. and they paired him with Lily Pons 💀 #she's unbearable #il barbiere di siviglia #opera tag

[opera-ghosts]

February 3. 1823 the Opera „Semiramide“ from Gioachino Rossini premiered in Teatro La Fenice with Isabella Colbran (1784-1845). Rossini write this Opera for her. She was the first wife from him. Take a closer look on the biography of this great spanish Soprano.

On this postcard we see her on a great painting.

#Opera #Semiramide #Gioachino Rossini #Rossini #Isabella Colbran #Colbran #composer #classical composer #music history #bel canto #dramatic soprano #soprano #opera singer #aria #diva #primadonna #classical studies #maestro #Semiramis #Voltaire #tragedy #opera house #classical singer #classical singing #postcard #painting #Johann Heinrich Schmidt #portrait #Teatro alla Scala #verismo

[tonisemitoni]

Domenico Donzelli per un giorno a casa sua

Il bel Museo della Musica di Bologna è racchiuso nel cinquecentesco, magnifico, Palazzo Sanguinetti, ultima famiglia a cui esso appartenne, a metà di Strada Maggiore. Palazzo Sanguinetti La famiglia Sanguinetti, acquistò questo edificio nel 1870 dal famoso tenore Domenico Donzelli, conteso dai più celebri operisti della prima metà dell’800 quali Rossini, Bellini e Donizetti, e dagli impresari dei…

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#Alma Mater #Angela Lorenzoni #Bologna #Caritea regina di Spagna #Certosa #Certosa di Bologna #Domenico Donzelli #Elisa e Claudio #Fulvio Massa #Gaetano Donizetti #Geltrude Righetti Giorgi #Gioachino Rossini #Il Barbiere di Siviglia #Il bravo #Il viaggio a Reims #Ilenia Nucci #Isabella Colbran #L&039;esule di Roma #Louis Niedermeyer #Marco Cavazza #Museo della Musica #Norma #Palazzo Sanguinetti #Pietro Luchini #Pollione #Rocco D&039;Aurelio #Strada Maggiore #Torvaldo e Dorliska #Ugo Conte di Parigi #Vincenzo Bellini

[princesssarisa]

This… out of curiosity

Do you know the different meanings of the name of Cinderella's Stepsisters?

Charles Perrault's Cendrillon

Javotte: A nickname for Geneviève, which means "of the race of woman," "woman of the family," or "white wave."

(Perrault only reveals the older stepsister's name in one scene, not the younger one's.)

Rossini's opera La Cenerentola

Clorinda: “Youthful” or “greenery.”

Tisbe: Unknown; it’s a name from Greek mythology.

Massenet's opera Cendrillon

Noémie: “Pleasantness.”

Dorothée: “Gift from God.”

The 1947 Russian film

Anna: “Grace” or “favor.”

Marianna: A cross between Mary, meaning “bitter,” “drop of the sea,” or “beloved,” and Anna (see above).

The Let's Pretend radio adaptation

Flora: “Flower.”

Isabella: A form of Elizabeth, meaning “My God is an oath.”

The Disney version, animated and live action

Anastasia: “Resurrection.”

Drizella: Probably a variant of Drusilla, meaning “little strong one.”

The 1955 film The Glass Slipper

Birdena: “Little bird.”

Serafina: “Fiery one.”

The 1957 version of Rodgers and Hammerstein's musical

Portia: “Pig.”

Joy: Self-evident.

The 1965 version of Rodgers and Hammerstein's musical

Prunella: “Little plum.”

Esmeralda: “Emerald.”

The Muppets' Hey, Cinderella!

Mona: “My lady.”

Lisa: Derived from Elizabeth, meaning “my God is an oath.”

Rankin/Bass's Festival of Family Classics

Fatima: “To abstain” (though it serves as a play on “fat,” because she is fat)

Leania: Probably derived from Helen, meaning “light” (though it serves as a play on “lean” because she’s scrawny)

The 1969 Czech film

Katerina: “Far off” or “pure.”

Dorota: "Gift from God."

The 1973 Czech film Three Wishes for Cinderella

Dora: “Gift.”

The 1976 film The Slipper and the Rose

Isobella: “My God is an oath” (see above).

Palatine: “Of the palace.”

The 1978 African-American adaptation Cindy

Olive: "Olive," of course.

Venus: "Love."

The Faerie Tale Theatre adaptation

Arlene: “Honor” or “eagle.”

Bertha: “Bright.”

The Grimm's Faerie Tale Classics adaptation (English dub)

Phoebe: “Bright.”

Griselda: “Gray battle.”

Stephen Sondheim's musical Into the Woods

Florinda: "Flower."

Lucinda: "Light."

The Happily Ever After: Fairy Tales for Every Child adaptation

Margarita: “Pearl” or “daisy flower.”

Esmeralda: “Emerald” (see above).

The musical A Tale of Cinderella

Moltovoce: “Much voice.”

Seppia: “Squid.”

The 1996 Burbank Animation version

Nellie: A nickname for Ellen or Helen, meaning “torch” or “light.”

Melba: Derived from Melbourne, Australia. Melbourne means “mill stream.”

(Their names are inspired by the famous Australian opera singer Nellie Melba, whose birth name was Helen Mitchell and who took her stage name from her home city of Melbourne.)

The anime series Cinderella Monogatari

Catherine: “Far off” or “pure.”

Jeanne: “God is gracious.”

The 1997 version of the Rodgers and Hammerstein musical

Minerva: “Intellect.”

Calliope: “Beautiful voice.”

The 1998 film Ever After: A Cinderella Story

Marguerite: “Pearl” or “daisy flower.”

Jacqueline: “Heel-grabber” or “supplanter."

Gregory Maguire's novel Confession of an Ugly Stepsister

Iris: "Rainbow" or "iris flower."

Ruth: "Friend."

Margaret Peterson Haddix's novel Just Ella

Griselda: "Gray battle" (see above).

Corimunde: Possibly a variant of "Clarimond," meaning "shining defender."

The Shrek franchise

Doris: "Dorian woman."

Mabel: "Lovable."

The 2000 stage version of the Rodgers and Hammerstein's musical

Grace: Self-evident.

Joy: Self-evident (see above).

The 2000 British TV film

Goneril: Unknown meaning.

Regan: "Little ruler" or "king's child."

(In case anyone didn't know it, their names are taken from the evil sisters in Shakespeare's King Lear.)

The Simsala Grimm adaptation

Agatha: “Good.”

Beatrice: "One who blesses.”

The novel and film Ella Enchanted

Hattie: A nickname for Harriet, meaning “home ruler.”

Olive: Self-evident (see above).

The 2004 film A Cinderella Story

Brianna: "High" or "noble."

Gabriella: "God is my strength."

Malinda Lo's novel Ash

Ana: "Grace" or "favor" (see above).

Clara: "Clear" or "bright.

The 2010 Märchenperlen adaptation

Clothilde: “Glorious battle.”

The 2011 Sechs auf einen Streich adaptation

Annabella: "Grace and beauty."

The 2013 stage version of the Rodgers and Hammerstein musical

Gabrielle: “God is my strength” (see above).

Charlotte: “Free woman.”

Alma Deutscher's opera

Griselda: “Gray battle” (see above).

Zibaldona: Possibly derived from Zebada, which is derived from Zebadiah, meaning “God has bestowed.”

Betsy Cornwell's novel Mechanica

Piety: Self-evident.

Chastity: Self-evident.

Andrew Lloyd Webber's musical Bad Cinderella

Adéle: “Noble.”

Marie: “Bitter,” “drop of the sea,” or “beloved.”

The 2021 Sony/Amazon film

Narissa: “Sea nymph.”

Malvolia: “Ill will.”

#cinderella #fairy tale #cinderella's stepsisters #name meanings

[vulnerasti-cor-meum]

Oh my God it just occurred to me the parallel between Rossini’s opera l’italiana in algeri and the film An Evening with beverly luff linn (which I jsut watched like two weeks ago lol)

Rossini's Isabella is just like Lulu (played by Aubrey Plaza lol) as both are headstrong young women who set out to find their long-lost lovers and on the journey get captured (Isabella by pirates working for Algerian bey, Lulu by a tyrannical husband) and both on their journeys of escape are assisted by clumsy, importunate suitors who are helplessly in love with them (Isabella's Taddeo || Lulu's Colin Keith (played by Jermaine Klement). Except ig in Italiana Isabella reuintes with her lover over and against Taddeo, whereas in beverly luff linn Plaza reuints but doesn't last with her lover, and Klement does win her over 

huh

#rossini #opera #italian opera #aubrey plaza #an evening with beverly luff linn #l'italiana in algeri

[lamilanomagazine]

Domenica 18 febbraio partono le Settimane Rossiniane di Pesaro 2024 per celebrare il compleanno del compositore Rossini

Domenica 18 febbraio partono le Settimane Rossiniane di Pesaro 2024 per celebrare il compleanno del compositore Rossini. Domenica 18 febbraio, al via le 'Settimane Rossiniane' - in una versione decisamente extra large per l'anno da Capitale della Cultura - che fino al 7 marzo offrono un ricco calendario per festeggiare il 'Buon Compleanno' di Rossini. Alle 11 appuntamento a Casa Rossini con 'A Carnevale ogni scherzo vale: Gioachino Rossini e le sue burle', percorso in città a cura di Elena Bacchielli, tra aneddoti e luoghi che hanno 'conosciuto' il compositore, alla scoperta del volto rossiniano più ironico. Costo € 4,00, richiesta la prenotazione, info Pesaro Musei 0721 387541 [email protected] Alle 16 il Museo Nazionale Rossini propone una speciale visita guidata che rientra nella rassegna "Capolavori in scena. Guida alle opere di Gioachino Rossini", per approfondire i capolavori del genio di Pesaro. Protagonista, Semiramide, l'ultima opera lirica composta per le scene di un teatro italiano, rappresentata alla Fenice di Venezia il 3 febbraio 1823. Con questo melodramma tragico in due atti, su libretto di Gaetano Rossi, tratto dalla Sémiramis di Voltaire, la fama di Rossini si diffuse in tutta Europa. La vicenda tragica della regina di Babilonia vide sul palcoscenico di Venezia Isabella Colbran, la cui voce e presenza scenica sono state esaltate dalla musica che il suo amato Gioachino ha scritto per lei. La visita è compresa nel biglietto (8/6 €), prenotazione consigliata 0721 1922156, [email protected]. 'Buon Compleanno Rossini!' edizione 2024 è promosso da: Comune di Pesaro, AMAT, Regione Marche, Ministero della Cultura, Fondazione Pescheria-Centro Arti Visive/Pesaro Musei, Fondazione Rossini, Conservatorio Statale di Musica G. Rossini, Rossini Opera Festival, Museo Nazionale Rossini/Sistema Museo, Ente Concerti, Orchestra Sinfonica G. Rossini, Filarmonica Gioachino Rossini, Circolo Amici della Lirica 'G. Rossini', Ente Olivieri - Biblioteca e Musei Oliveriani, Liceo Scientifico, Musicale e Coreutico G. Marconi, CIMP Concorso Internazionale Musicale Città di Pesaro, Museo Officine Benelli, Cooperativa Teatro Skenè, Comitato Rossini Gourmet, Istituto Professionale Statale per i Servizi Alberghieri e la Ristorazione 'Santa Marta.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[elmartillosinmetre]

Alrededor de Pauline

[Jesús Pineda y Cristina Bayón en un conocido enclave sevillano. / JUAN CARLOS VÁZQUEZ]

La soprano Cristina Bayón y el guitarrista Jesús Pineda acaban de publicar un álbum de música de compositoras en torno a la figura de Pauline Viardot

Son profesores ambos del Superior de Sevilla, pero apenas se conocían hasta que a Cristina Bayón le pidieron una conferencia en Cádiz sobre el tiempo de la Guerra de la Independencia. “Pretendía ser ilustrada, y como en la época había mucha música para voz y guitarra, Moretti, Sor..., pensé en él, se lo propuse y aceptó. Era 2021, y aunque al final la conferencia no se hizo por las restricciones del Covid, aquel era el año del segundo centenario del nacimiento de Pauline Viardot, y decidimos montar un programa en torno a su figura. Nos invitaron entonces a participar en las Noches del Alcázar y ahí empezamos ya en serio con el dúo”.

En diciembre de aquel mismo año se metieron en los Estudios Sputnik con Jordi Gil y grabaron este disco. “Yo estaba un poco despistada, porque era la primera vez que hacía un proyecto propio. Algunos amigos me habían recomendado Brilliant, que para un primer disco funcionaba muy bien, así que lo ofrecí y lo aceptaron enseguida. Pero el dueño de la discográfica murió poco después y por eso la aparición del CD se ha retrasado algo; de hecho aunque el disco está ya en plataformas, aún no tenemos copias físicas”.

Boulevard des Femmes pretende ser un recorrido por música escrita por mujeres que tuvieron alguna relación con Pauline Viardot: está por supuesto la propia Viardot, su hermana mayor, María Malibrán, Isabella Colbrán –la soprano madrileña que acabó casándose con Rossini–, Fanny Hensel –la hermana de Mendelssohn–, Clara Schumann y una casi desconocida Pauline Duchambge. “Era de una familia de aristócratas, natural de la Martinica. Era pianista y puede que tocara también la guitarra. Tuvo amistad con George Sand y muchos libretistas y escritores de la época. Escribió sobre todo romances, un género estrófico, antesala de la mélodie. Los textos de estos romances eran muchas veces de poetastros, pero los suyos son de Scribe, Victor Hugo... Sus romances los cantó María Malibrán, estuvo muy relacionada con el entorno de Viardot a través de la hermana, de Sand…"

La relación con la madrileña Colbrán le llega a Pauline por vía paterna. "Colbrán era la protectora de Manuel García en el Teatro San Carlos de Nápoles. Después del estreno de Guillermo Tell dio una fiesta a la que asistió García, en la que estuvo invitado Fernando Sor, y allí, Pauline con 7 u 8 años cantó ya delante de la Colbrán. Sus canzonettas y arietas son muy rossinianas. Ella se formó de joven con Crescentini, castrato que estaba entonces en Madrid. Colbrán se fue luego directamente a Francia y no pasó por esa fase de cantar las tonadillas típicas de tantos cantantes españoles".

El variado repertorio (lieder, romances, canzonettas, arietas, mélodies) está concebido para voz con acompañamiento pianístico, así que el dúo tuvo que recurrir a las transcripciones, originales de Jesús Pineda: "La dificultad de la transcripción depende de la envergadura de las piezas. Las obras de las compositoras que eran pianistas (Fanny, Pauline, Clara) suelen tener una gran complejidad armónica y polifónica, y llevar eso a la guitarra no siempre es fácil. En la guitarra hay una gran riqueza de matices, pero el instrumento no tiene la amplitud de registros sonoros del piano. Hay que buscar la tonalidad idónea, para que cada pieza nos venga bien a los dos. En el piano es algo fácil pasar por ejemplo de la a la bemol, pero para mí eso es muy difícil. Tenemos ese hándicap. Al final tienes que tirar mucho de scordatura, de buscar que suene lo más natural posible. Y luego yo intento que sea lo más fiel a la estructura básica, al esqueleto de la pieza original, buscando los colores armónicos que mejor representan la música, pero el desarrollo de las voces internas es a menudo complicado. Y luego hay que buscar los efectos idiomáticos del instrumento para suplir cosas que están en el piano y en la guitarra, no: tambora, armónicos, efectos de rasgueos… Muchas veces el piano está imitando a la guitarra, por lo que hay piezas que le van muy bien".

El disco se grabó con una guitarra moderna, "pero ahora tengo una romántica, una copia de un instrumento de la década de 1830. La plantilla más habitual de las guitarras de hoy provienen de los modelos de Antonio Torres de la segunda mitad del siglo XIX y esta música es casi toda anterior, cuando las guitarras eran más pequeñas y tenían otro tipo de construcción, más francesa. Las principales diferencias tienen que ver con el color y la profundidad del sonido. Todo lo hacemos ahora con la romántica y creo que el resultado gana en profundidad y el acercamiento es más ortodoxo". "He notado que la romántica envuelve más. Me siento muy a gusto cantando con ella", comenta su compañera. "Es más cercana al piano, por la idea del relleno armónico". "Sí, es como cuando cantas con un fortepiano".

[Los músicos sevillanos Jesús Pineda y Cristina Bayón. / JUAN CARLOS VÁZQUEZ]

El dúo tiene otros muchos programas en cartera: "Ahora que vamos a Italia nos han pedido cosas diversas, algunas muy típicas", comenta el guitarrista. Y su compañera continúa: "Claro, te piden Falla, Lorca. Vas fuera y no quieren escuchar a Isabel Colbrán. Les vale Pauline Viardot, porque les cantas La caña española y les gusta, pero luego Falla, Lorca… es lo que te piden. Tenemos también otro programa con música de compositores del XIX, y otro con seguidillas boleras, Moretti, canciones de Manuel García, algunas piezas operísticas, como la cavatina de Rosina… Y luego estamos viendo un repertorio no muy visto de música con temática andaluza costumbrista del XIX, unas piezas son directamente para guitarra, otras requieren transcripciones, acaso más fáciles que las de este disco, pero cuanto más fáciles son, más imaginación tiene que poner el instrumentista, es otro tipo de dificultad". Pineda añade: "Hemos abierto el abanico, desde finales del XVIII, con García, Giuliani, luego todo el XIX con las mujeres, proyectos con música del siglo XX, como las Canciones chinas de Britten, y la idea de abrirnos al repertorio actual, un proyecto aún no del todo definido, pero sí estamos hablando con compositores que pudieran escribir para nosotros".

También hay ya bocetos de lo que puede ser Boulevard des Femmes II: "Pensamos en Cécile Chaminade, Rita Strohl, Augusta Holmès, una compositora de origen irlandés, pero que estudió en París. Es un repertorio más tardío. Nos acercaremos a la Belle Epoque".

[Diario de Sevilla. 9-04-2023]

BOULEVARD DES FEMMES EN SPOTIFY

#cristina bayón #jesús pineda #brilliant #pauline viardot #maría malibrán #isabella colbrán #pauline duchambge #fanny hensel #clara schumann #música #music #Spotify

[joaquimblog]

ROF 2022: OTELLO

Enea Scala (Otello) i Antonino Siragusa (Iago). Fotogrtafia gentilesa del ROF (Facebook) Quan els designis celestials van decidir ajuntar al Nàpols de principis del segle XIX al compositor Rossini, a l’empresari Barbaja i a Isabella Colbran, l’insigne soprano del moment al capdavant d’una companyia de cant disponible als teatres de la cort que comptava amb noms tan il·lustres com Andrea Nozzari,…

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#Adriana Di Paola #Antonino Siragusa #Antonio Garés #Coro del Teatro Ventidio Basso #Dmitry Korchak #Eleonora Buratto #Enea Scala #Evgeny Stanvinsky #Gioacchino Rossini #Giovanni Farina #Julian Henao González #Orchestra Simfonica Nazionale della Rai #Otello #Rosetta Cucchi #Yves Abel

[infinitelytheheartexpands]

L’Italiana in Algeri (Philadelphia, 2000): Reactions, Part I

Stephanie Blythe plus Juan Diego Florez plus Rossini plus English subtitles...let’s do this! Thanks, @vera-dauriac and @monotonous-minutia​ for encouraging me to give this a watch. Now let’s hope this isn’t Hard Cringe Orientalism.

baby!!!

extra extra read all about it also (of course) this overture bops

oh great I’m already cringing

sorry, Elvira

well at least you have standards

MY CHILD

he makes it look and sound so easy

this duet slaps

Mustafa hard ships Elvira and Lindoro lol

they’re so great together :)

clever set machinery! (the audience started clapping for it)

*heavy sigh*

STEPHANIE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! also I LOVE her outfit

(also also kudos to the one audience member who started clapping for her)

YEAH QUEEN

she’s magical and no one can resist

and she’s SLAYING this music

all the dudes collapsed at the end of her aria, which...ENTIRELY understandable

were you just hiding in that box the entire time

I aspire to be Isabella’s level of chill and resourceful

well, yes

(you’re a Basso Buffo you automatically lose brain cells)

hahahaha

she’s not having it

shawl slap

omg she is absolutely iconic

“meh I guess we’ll have to stick together and stop fighting”

also this slaps and they’re both amazing

comedic GOLD

well oof

“let’s see which hat I want to wear today”

nice hat choice also he is EXCELLENT

you got that right

oh honey

so am I

don’t worry I think she has this under control

ya think?

he’s fallen hook, line, and sinker

“omg, uh...fancy seeing you here”

well, we’re getting towards the end of the first act of a Rossini comic opera, so of course they’re confused

it is the Law that Rossini Confusion Ensembles TM always hard bop

she’s not having Mustafa’s BS

the Rossini Mood

it’s an anvil in Barbiere and a bell here

getting pushed around on those boxes looks like so much fun

bahahaha (also this lady right here is actually now a voice professor at my university, which I didn’t know until about an hour and a half ago)

this is SO MUCH FUN so far

#opera #opera tag #L'Italiana in Algeri #The Italian Woman in Algiers #opera liveblog #Rossini #Gioachino Rossini #fun times!!! #I'm glad that for the most part this isn't Hard Cringe Orientalism

[a-moorcita]

O ano é 1969 e Teresa Berganza, mezzo-soprano de grande talento e perspicácia musical em suas fáceis notas agudas e naturais tons graves, interpreta de forma fofa e charmosa, a doce Isabella em mais uma peça inesquecível de Rossini.

#music quote #music video #opera #teresa berganza #rossini #mezzosoprano #belcanto #operalover #operafan

[occult-roommates]

"I have only known Farida for a day and a half but if anything happened to her I would kill everyone in the room and then myself" - Isabella Rossini (2021)

#ts4 #the sims 4 #sims 4 #simblr #ts4 simblr #occult roommates #farida alwan #isabella rossini #OcRo s2

[widevibratobitch]

me when i see sopranos singing goddamn contralto rossini roles: grrr grrr grrrr violence violence biting you biting you biting you

me when they ask if ill sing isabella and rosina in the act i finales: teehee uwu haha welllllllllll 👉👈😌

#i said yes 💀 #i have become the very thing i swore to destroy #gripping the sink its cool its cool its okay no one's gonna know (they're gonna know) how would they know HOW would they know #my very own corruption arc...... #ill just use lots of chest voice and no one will realise. its fine.......

[akikonatsuko]

Franz Buchrieser, comédien, Graz

Even if she sings Isabella in "L'Italiana in Algeri" in Vienna, Zurich, Amsterdam and Florence, even if her "Tancredi", sensation of the Salzburg Festival in 1992, will soon be recorded and there are other Rossini roles in her repertoire , She describes her voice as rather bright, not exactly a typical mezzo-soprano. In addition to coloratura parts, she can sing both lyrical and dramatic roles. If one can describe the essence of Belcanto at all, it may be that it speaks directly to our hearts through its warmth and humanity expressed in the tonal language. When compiling the songs, I made sure that there was a change between sad and happy pieces, between rest and movement. I will never just stay with Mozart and Rossini. Bellini, for example, is becoming more and more important to me, and I would also like to make a “Favorita” in a few years. As part of her exclusive contract with the company RCA, a number of new recordings have been made in the past few months that confirm the artist's exceptional position. A recital devoted exclusively to Rossini, which only came on the market a few weeks ago, does the trick to explain the secret of its success.

Write your review.

It is very difficult to find a good musician you can trust. For voice training, I still visit my teacher in Sofia, Ressa Koleva, as often as possible. If you do not yet know a game, you will only gradually discover where the difficulties lie, what is possible and what is not.

Filmographie comme comédien

When Violeta Urmana, the current Kundry in Bayreuth, sings a single "Parsifal" (with those differently shaded a, which mean all of heaven and all of hell), if she endlessly tortures the curse of that wonderfully worldly demonic woman through existence ", as it were, only speaks, even lets it crumble out of itself tonelessly and the infamous laugh, the mockery of Christ on the cross, as a top note between shrill despair and blissful singing happiness, then it runs ghostly over your back. Then the lead pain of Wolfgang Wagner's production is quickly forgotten. Urmana has mastered what has become rare and was the calling card of the great bel cantist, the perfect balance between intensity and distance, between expression and control. If you start things like this too early, the risk is undoubtedly great. I no longer believe that for me today, because I can build on a certain experience. Her debut at the Salzburg Festival was in 1991 as Annio under Sir Colin Davis, Cherubino she sang at the Vienna State Opera with Peter Schneider, and her Dorabella under the baton of Riccardo Muti at the Theater an der Wien delighted audiences and press alike. "Intermediate tones and nuances are the domain of Vesselina Kasarova, whose subtle phrasing and modeling skills combined with her intense acting presence and exquisite timbre create a portrait of Dorabella without any spaces" (NZZ). From the impression she makes privately, the Kasarova should actually always be loved ones who play gentle. Kasarova has a repertoire of 35 mezzo-soprano parts. Her eighth CD "Rossini - Arias & Duets" has just been released by BMG. I do not come from a communist family. Singing and playing belong together, the game is often the most important thing, it also helps with singing. You only really notice whether you really master a game when you play the role on stage. Born in Stara Zagora in southern Bulgaria, Vesselina Kasarova started playing the piano at preschool age. She wanted to be a pianist and has consistently pursued this goal up to the concert diploma. In addition, she sang as a student in a choir, and at 18 she wanted to take the risk of becoming a singer, if the vocal conditions allowed it.

Nevertheless, because of its size, the Zurich Opera is very suitable for trying out certain parts. Mezzo-soprano Vesselina Kasarova has long been one of the most sought-after singers in the world. With arias from the operas "Alcina" click here to read a > and "Ariodante" by Georg Friedrich Händel will be her guest on Monday at the crowning end of the Rendsburg festival season. I congratulate Pachulke and Clélia on finding the solution and posting elegant allusions.

#couleur des yeux schwarzenegger

[janiedean]

Why not singing? You totes should ! Or in alternative you can give us a list of your favourite opera arias

I can’t hold a tune worth a damn anon X°DDDD ESPECIALLY OPERA like MAYBE I can carry a bob dylan song if I sing it the way he does but not even that and tbh no one should be exposed to my singing voice outside standing next to me in a concert but my favorite opera arias sure you can have it I’m going by opera first and sticking to arias only

don giovanni:

ah chi mi dice mai [donna elvira’s #1]

fin c’han dal vino [don giovanni’s #1]

il mio tesoro intanto [don ottavio’s #1]

madamina il catalogo è questo [leporello’s #1]

the magic flute:

all of papageno’s tbqh [one two three sorry guys it’s my favorite I can’t choose]

der holle rache [queen of the night #2]

wie stark is nicht dein zauberton [tamino #2]

così fan tutte:

in uomini, in soldati [despina #1]

come scoglio immoto resta [fiordiligi #1]

ah lo veggio quell’anima bella [ferrando #2 but they always cut it] (this dude’s my favorite opera singer btw bye)

donne mie la fate a tanti [guglielmo #2]

nozze di figaro:

se vuol ballare [figaro #1]

vedrò mentr’io sospiro [conte di almaviva #1]

random mozart:

deh per questo istante solo [sesto #2, la clemenza di tito]

parto, parto ma tu ben mio [sesto #1, la clemenza di tito]

se all’impero amici dei [tito #2, la clemenza di tito]

fuor del mar [idomeneo #1, idomeneo]

quel ribelle, quell’ingrato [mitridate, mitridate re del ponto]

martern aller arten [konstanze #2, die entführung aus dem serail ]

ach ich liebte, war so glücklich [konstanze #1, die entführung aus dem serail]

durch zärtlichkeit und schmeicheln [blonde #1, die entführung aus dem serail]

rossini:

asile hereditaire + amis, amis [guillaume tell, #arnold 2]

cessa di più resistere [almaviva #3, il barbiere di siviglia]

sì ritrovarla io giuro [the prince, cenerentola]

non più mesta accanto al fuoco [cenerentola, finale]

languir per una bella [lindoro #1, l’italiana in algeri]

pensa alla patria [isabella #3, l’italiana in algeri]

mura felici... o quante lagrime [malcolm #1, la donna del lago]

duce di tanti eroi [maometto #1, maometto II]

accusata di furto [la gazza ladra, fernando #1]

che ascolto! [rodrigo #1, otello]

non si dà follia maggiore [il turco in italia, fiorilla #1]

medaglie incomparabili [don profondo #1, il viaggio a reims]

ah, perché la conobbi [#1, il viaggio a reims]

donizetti:

quanto è bella, quanto è cara [nemorino #1, l’elisir d’amore]

udite, udite o rustici [dulcamara #1, l’elisir d’amore]

cercherò lontana terra/e se fia che ad altro oggetto [ernesto #1, don pasquale]

regnava nel silenzio [lucia #1, lucia di lammermoor]

il dolce suono + spargi d’amaro pianto [lucia #2, lucia di lammermoor] 

la pietade in suo favore [enrico #1, lucia di lammermoor]

tu che a dio spiegasti l’ali [edgardo #1, lucia di lammermoor]

ah mes amis, quel jour de fete [la fille du regiment, tonio #1] [bonus just the ending with my fave singer bc I can]

assisa a piè d’un sacco [le convenienze e inconvenienze teatrali, agata #1] (GUYS THIS IS THE CRACKIEST SHIT EVER I LOVE IT)

verdi:

dì tu se fedele [un ballo in maschera, riccardo/gustavo #2]

eri tu [un ballo in maschera, renato #1]

mentre gonfiarsi l’anima [attila #1, attila]

degli immortali vertici [ezio #1, attila]

sempre libera [violetta #1, la traviata]

dei miei bollenti spiriti/oh mio rimorso [alfredo #1, la traviata]

cortigiani, vil razza dannata [rigoletto #2, rigoletto]

questa o quella [conte di mantova #1, rigoletto]

tacea la notte placida + di tale amor [leonora #1, il trovatore]

d’amor sulle ali rosee + tu vedrai che amore in terra [leonora #2, il trovatore]

per me giunto è il dì supremo [rodrigo #1 TECHNICALLY he sings solo stuff before but not like that, don carlo]

various other random ones:

se romeo t’uccise un figlio [bellini, i capuleti e i montecchi, romeo #1]

è serbata a quest’acciaro [bellini, i capuleti e i montecchi, tebaldo #1]

svanir le voci/meco all’altar di venere [bellini, norma, pollione #1]

qui la voce sua soave [bellini, i puritani, elvira #2]

tutto è sciolto [bellini, la sonnambula, elvino #2]

ne craignez rien, milord [auber, fra diavolo, zerlina #1]

j’ai revu nos amis [auber, fra diavolo, marquis #1]

chanson de kleinzach [offenbach, les contes d’hoffmann, hoffmann #1]

Abscheulicher! Wo eilst du hin?  [beethoven, fidelio, leonore #1]

Gott, welch Dunkel hier! [beethoven, fidelio, florestan #1]

le veau d’or [gounod, faust, mephistopheles #1]

votre toast, je peux vous le rendre [bizet, carmen, escamillo #1]

.... there are others but it took me like one hour to put this together I THINK YOU HAVE AN IDEA OF WHAT I LIKE XDDDD

(ps: I actually do like more modern stuff ie berg’s lulu but like for those I really think of them as a whole piece I can’t pick arias XD and there’s others where I like more the ensemble pieces than individual arias uu]

#opera tag #NOW I'M GOING TO DO THE VOCAL STUFF XDDD #Anonymous #ask post

[lamilanomagazine]

Pesaro: doppio appuntamento all’insegna della musica al Museo Nazionale Rossini e al Teatro Sperimentale, sabato 4 marzo

Pesaro: doppio appuntamento all’insegna della musica al Museo Nazionale Rossini e al Teatro Sperimentale, sabato 4 marzo. Alle 17, il Museo Nazionale Rossini, sarà la sede di una speciale visita guidata alla scoperta delle donne che hanno segnato la vita del compositore organizzata dal Sistema Museo: ‘Rossini e le donne, un viaggio in un universo con tante note di colore e sfumature sorprendenti”. La visita guidata vuol far conoscere i numerosi e intensi legami di Rossini con l’universo femminile, un rapporto dalle mille sfaccettature che ha segnato la sua esistenza. Si racconterà della mamma Anna cui Gioachino scrisse tante lettere anche quando cominciò a girare l’Europa; delle mogli Isabella e Olympe, tanto diverse fra loro ma ugualmente importanti in vari periodi della sua vita, delle cantanti d’opera e dei personaggi femminili protagonisti delle sue opere. La visita (durata 45 minuti) è compresa nel biglietto del museo (8 euro intero, 6 euro ridotto, gratuito fino a 18 anni); prenotazione consigliata: 0721 1922156, [email protected] A seguire, alle 21, per la Stagione dell’Ente Concerti, il Teatro Sperimentale ospiterà il concerto di Ivan Bessonov, stella nascente del pianoforte che sta incantando il mondo, vantando eccellenti risultati in prestigiosi concorsi internazionali. L’appuntamento pesarese è il primo del tour europeo dopo tre anni di sospensione a causa della pandemia, un periodo in cui il giovane talento non si è perso d'animo, anzi; nel 2022 ha vinto il Concorso Pianistico Internazionale Sergej Rachmaninov, autore cui è dedicata la prima parte del recital proprio nell’anno in ci si celebra il 150esimo della nascita. In programma musiche di S. Rachmaninov, F. Chopin e Rossini naturalmente. I biglietti - da 5 a 13 euro – si acquistano presso la biglietteria del Teatro Sperimentale (0721 387548 mercoledì- sabato 17-19.30 e il giorno del concerto 10-13 e dalle 17 fino a inizio spettacolo), online su http://www.vivaticket.it. Info: Ente Concerti 0721 32482 [email protected] http://www.enteconcerti.it Il cartellone delle Settimane Rossiniane è promosso da: Comune di Pesaro, AMAT, Regione Marche, Ministero della Cultura, Fondazione Rossini, Conservatorio Statale di Musica G. Rossini, Rossini Opera Festival, Fondazione Pescheria- Centro Arti Visive/Pesaro Musei, Sistema Museo, Ente Concerti, Orchestra Sinfonica G. Rossini, Filarmonica Gioachino Rossini, Circolo Amici della Lirica ‘G. Rossini’, Ente Olivieri - Biblioteca e Musei Oliveriani. Info e aggiornamenti: http://www.pesarocultura.it www.teatridipesaro.it... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article