Wednesday, January 17, 2024

'La Donna E Mobile'

 

'La Donna E Mobile' 

The Metropolitan Opera performing Verdi's 'Rigoletto'

Hiroyuki Ito/Hulton Archive / Getty Images

The aria for lyric tenors known as "La donna e mobile" is the centerpiece of the opera "Rigoletto," Giuseppe Verdi's twisted tale of lust, desire, love, and deceit. Composed between 1850 and 1851, Rigoletto was adored by audiences when it first premiered at La Fenice in Venice on March 11, 1851, and even now, over 150 years later, it is one of the world's most performed operas. According to Operabase, which gathers statistical information from opera houses around the world, Verdi's "Rigoletto" was the 8th-most performed opera in the world during the 2014/15 season.

The Context of "La Donna e Mobile"

The Duke of Mantua sings this unforgettable aria in the third act of Verdi's Rigoletto as he flirts with Maddalena, the sister of the assassin Sparafucile. Rigoletto, the Duke's right-hand man, and his daughter, Gilda, who has fallen in love with the Duke, pay a visit to Sparafucile. Rigoletto is very protective of his daughter and wants to have the Duke killed since he is a man that cannot be trusted with women.

When they reach the inn in which Sparafucile is staying, they hear the Duke's voice bellowing within singing "La donna e mobile" ("Woman is fickle") as he puts on a show for Maddalena with hopes of seducing her. Rigoletto tells Gilda to disguise herself as a man and escape to a nearby town. She follows his instructions and sets out into the night while Rigoletto enters the inn after the Duke leaves.

When Rigoletto makes a deal with Sparafucile and hands over his payment, a calamitous storm rolls in for the night. Rigoletto decides to pay for a room at the inn, and Gilda is forced to return to her father after the road to the nearby town becomes too dangerous to traverse. Gilda, still disguised as a man, arrives just in time to hear Maddalena make a deal with her brother to spare the Duke's life and instead kill the next man that walks into the inn. They will bag the body together and give it to the duped Rigoletto. Despite his nature, Gilda still loves the Duke deeply and resolves herself to put an end to this dilemma.

Italian Lyrics of "La donna e mobile"

La donna è mobile
Qual piuma al vento,
Muta d'accento — e di pensier.
Sempre un amabile,
Leggiadro viso,
In pianto o in riso, — è menzognero.
È sempre misero
Chi a lei s'affida,
Chi le confida — mal cauto il cuore!
Pur mai non sentesi
Felice appieno
Chi su quel seno — non liba amore!
La donna è mobile
Qual piuma al vento,
Muta d'accento — e di pensier,
E di pensier,
E di pensier!

English Translation

Woman is fickle
Like a feather in the wind,
She changes her voice — and her mind.
Always sweet,
Pretty face,
In tears or in laughter, — she is always lying.
Always miserable
Is he who trusts her,
He who confides in her — his unwary heart!
Yet one never feels
Fully happy
Who on that bosom — does not drink love!
Woman is fickle
Like a feather in the wind,
She changes her voice — and her mind,
And her mind,
And her mind!

Giuseppe Verdi, Và pensiero (Nabucco)


Giuseppe Verdi, Và pensiero sull'ali dorate (Nabucco) Orchestra e Coro del Teatro La Fenice Maestro del Coro Claudio Marino Moretti Direttore - James Conlon La pubblicazione di questo video non intende violare nessun copyright e/o di essere usato a scopo di lucro. In caso contrario siamo a disposizione per l'eventuale rimozione

Liszt Hungarian Rhapsody No.2 • Volker Hartung • Cologne New Philharmonie


Franz Liszt's Hungarian Rhapsody No.2, originally written for solo piano comes to much life in its orchestral version in this fiery performance by the Cologne New Philharmonic Orchestra conducted by Volker Hartung. Recorded live at Laeiszhalle Hamburg, Germany

MSO celebrates 98 years of music with grand concert


Guest conductor Olivier Ochanine and Filipino violinist Diomedes Saraza Jr.

By MANILA TIMES

Embarking on the illustrious journey towards its centennial milestone, the Manila Symphony Orchestra joyously commemorates its 98th anniversary with a captivating concert gala that will bring together the elegant and graceful sound of the violin and the majestic but lyrical timbre of the MSO.

Titled "Peña, Nielsen, & Tchaikovsky: The MSO 98th Anniversary Concert," this performance is scheduled on January 31 at 7 pm at the Carlos P. Romulo Auditorium in RCBC Plaza.

Headlining the concert is esteemed Filipino Violinist, Diomedes Saraza, Jr., a distinguished Juilliard graduate and the first Filipino violin soloist to grace Carnegie Hall. Saraza currently serves as the concertmaster of the MSO.

Guiding the orchestra with expertise is guest conductor Olivier Ochanine, the acclaimed winner of the 2015 Antal Dorati International Conducting Competition in Budapest, Hungary. Ochanine is also recognized as the former musical director of the Philippine Philharmonic Orchestra, which previously performed at Carnegie Hall alongside Saraza. The event promises to be an exciting and memorable musical experience that will leave concert-goers enthralled.

The repertoire for the evening includes Angel Peña's "Trinity," Carl Nielsen's Symphony No. 1, and Pyotr Ilyich Tchaikovsky's Violin Concerto No. 1, all masterpieces poised to elevate the senses and transport the audience to new musical heights.

Tuesday, January 16, 2024

You Don't Have To Say You Love Me ( 1966 ) - DUSTY SPRINGFIELD - Lyrics


Sorry for a mistyping: at 1:16, it's "you don't have to stay for ever" and not "you don't have to say". Thank our fan. You Don't Have To Say You Love Me ( 1966 ) - DUSTY SPRINGFIELD - Lyrics When I said I needed you You said you would always stay It wasn't me who changed but you and now you've gone away Don't you see that now you've gone And I'm left here on my own That I have to follow you and beg you to come home You don't have to say you love me just be close at hand You don't have to stay forever I will understand Believe me, believe me I can't help but love you But believe me I'll never tie you down Left alone with just a memory Life seems dead and quite unreal All that's left is loneliness there's nothing left to feel

Aaron Copland; Appalachian Spring Suite



Monday, January 15, 2024

Johann Strauss II: Emperor Waltz op. 437 | Musikverein Vienna


Alfred Eschwé, conductor | Conductor Viennese Johann Strauss Orchestra Recorded live on October 26, 2016 in the Golden Hall of the Wiener Musikverein. Synopsis: In the fall of 1889, Johann Strauss (Sohn) was invited to conduct a number of his own compositions at several festivals on the occasion of the opening of the new Berlin establishment "Königsbau" in the former "Poduktenbörse".
He was granted generous terms and provided him with an orchestra of 100 men. It tempted the Waltz King to perform once again in the metropolis on the Spree and, moreover, in such a noble setting. Strauss (Sohn) therefore wrote a new composition for these concerts, for which he chose the title "Hand in Hand". This should probably point to the good relations between Vienna and Berlin. Corresponding to the festive occasion, Johann Strauss (Sohn) wrote a large-scale waltz with an introduction, the beginning of which was perceived as "Prussian." All the more Viennese was the following waltz. Before the work was played for the first time, an important political event took place in Berlin: Emperor Franz Joseph paid a visit to Kaiser Wilhelm II. On this occasion, the alliance between Austria-Hungary and the German Reich was solemnly summoned. Probably this imperial meeting in Berlin offered the suggestion to give the new waltz by Johann Strauss (son) the title "Kaiser-Walzer". The premiere of the work took place under the direction of the composer on October 21, 1889 in Berlin's "Königsbau". The Vienna premiere followed on 24th November in the Golden Hall of the Musikverein. Johann Strauss (Sohn) performed his masterpiece even in the hometown itself to the audience. In both cases, there was a complete success. The special rank of the festive composition was immediately recognized, and at the same time it remained in the future. Text: Prof. Franz Maile

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