 | Rossini Liszt Ouverture Guglielmo Tell 1/2 Daniel Rivera
Tags: Daniel, Guglielmo_Tell, Liszt, Ouverture, Rivera, Rossini-Liszt
Description:
Ouverture del Guglielmo Tell di Rossini, trascrizione di Franz Liszt
Registrazione del 1997 Buenos Aires
CD Irco 228 Estudios Cosentino
Foto Lucia Ceriani
Daniel Rivera pianoforte
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 | Guglielmo Tell: O muto asil del pianto (Luciano Pavarotti)
Tags: asil, guglielmo, muto, opera, pavarotti, pianto, rossini, tell
Description:
Conducted by Riccardo Chailly. Pavarotti sings the scena from act 4 of Rossini's 'Guglielmo Tell'.
'Maldito Candelabro' Un blog para hablar de la opera en el Peru y el mundo
http://operaperu.blogspot.com
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 | Vadrum Meets William Tell (Drum Video)
Tags: Andrea, Barker, Drum, Guglielmo, Mike, Mom, Opera, Overture, Portnoy, Rossini, Solo, Song, Tell, Theme, Travis, Vadrucci, Vadrum, William
Description:
This is my EXTREME drum version of the famous William Tell Overture!!! Thanks everyone for support! ^_^ Check out this and other drum videos at http://www.andreavadrucci.com - http://www.myspace.com/vadrum
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 | davide van de sfroos - il figlio di guglielmo tell
Tags: como, contrabbandiere, davide, de, di, dialetto, figlio, guglielmo, il, leg, musica, nord, popolare, porn, sex, sfroos, tell, van, xxx
Description:
un tributo alle mie origini..
testo:
Sun't el fiö del Guglielmo Tell, che l'era un gran òmm
però de me, i geent, i se regòrden gnanca el nòmm
e pensà che sèri mè, quel fiöö cun la poma in söe la cràpa
e pudèvi mea tremà e pregàvi..."sperèmm che la ciàpa !"
E i geent i me vardàven tücc, i me vardàven giò la finestra
i öcc i me puntàven tücc, ma me vardàvi la balestra...
"Dài papà,dài papà...Proviamo almeno con l'anguria..."
"Non dubitar di me figlio mio, lo sai che divento una furia!"
"Dài papà, dài papà...Proviamo almeno col melone..."
"Non si può figlio mio, tu lo sai... e poi non è neanche la stagione..."
"Dai papà,daipapà...Proviamo almeno col pompelmo..."
"Non temere figliolo, tuo papà si chiama Guglielmo !"
Però l'è mea pö taant bèll...vèss el fiöö del Guglielmo Tell
perché me de quèla volta sun in giir cun là el patèll
e sun cunteent per el mè pà, che l'han fatto eroe nazionale
ma da allora se vedo una mela comincio a stare male...ma male
El papà l'era giò in fuund, l'era giò ch'el ciapàva la mira
e me südavi frècc perché tra l'altro el segütava e segütava a beev giò bìra...
"Desmètela de beev, papà, se no te ghe vedet dùpi"
"Niente paura figliolo, maal che vàda...te cùpi !"
Ecco lo sento, lo sento...adesso scocca!
Chi è quel bigolo che ha parlato
come sarebbe a dire:
"Proviamo con l'albicocca ?"
Perché l'è mea pö taant bèll...vèss fiöö del Guglielmo Tell...
Sun't el fiöö del Guglielmo Tell
che s'è mea sbassàa a salüdà un capèll...
traduzione:
Sono il figlio di Guglielmo Tell, che era un grande uomo
però di me, le persone, non si ricordono neanche il nome...
E pensare che ero io quel bambino con la mela sulla testa
e non potevo tremare e pregavo..."speriamo che la prenda!"
e la gente mi guardava, mi guardavano tutti dalla finestra
tutti gli occhi mi puntavano, ma io guardavo la balestra
"Dai papà , dai papà ...Proviamo almeno con l'anguria"
"Non dubitar di me figlio mio, lo sai che divento una furia !"
"Dai papà , dai papà ...Proviamo almeno col melone"
"Non si pui² figlio mio, tu lo saiÂ...e poi non i¨ neanche la stagione"
"Dai papi , dai papi Â...Proviamo almeno col pompelmo"
"Non temere figliolo,il tuo papà si chiama Guglielmo !"
Pei non è poi cosi tanto bello essere figlio di Guglielmo tell
perche io da quella volta sono in giro con il patello
e son contento per mio padre, che l'hanno fatto eroe nazionale
ma da allora se vedo una mela comincio a stare male...ma male...
Il papà era giù in fondo, era giù che prendeva la
mira
e io sudavo freddo perche tra l'altro continuava a bere birra...
"Smettila di bere, papà , se no ci vedi doppio"
"Niente paura figliolo, male che vada...ti uccido!"
Ecco lo sento, lo sento...adesso scocca !
"Chi è quel pirla che ha parlato? Come sarebbe a dire:
"Proviamo con l'albicocca ?"
Perche non è poi cosi tanto bello essere figlio di Guglielmo Tell...
Sono il figlio di Guglielmo Tell
che non si è abbassato a salutare un capello...
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 | Gioachino Rossini - Guglielmo Tell (Guillaume Tell) - Overture (Chailly) - No. 3 & 4. The call to the dairy cows & The Galop
Tags: belcanto, classical, Guglielmo, Guillaume, Overture, Rossini, Tell
Description:
With "Guillaume Tell" Rossini finally offered Parisian audiences an original opera in French, though the public wouldn't be too excited by Rossini's experiment with the genre and the opera; coldly received at the premiere, not often performed after, never truly forgotten, but not a popular favorite, the work has only recently went through a veritable Renaissance on the wave of reappraisal belcanto has enjoyed for the past fifty years and it absolutely deserves our reevaluation. Into its historical panorama based on the play by Schiller Rossini wove pastoral elements, patriotic deeds and superbly drawn characters. He responded imaginatively to the challenge of creating a work for the French Opera without abandoning his Italian roots, integrating the belcanto lyricism and formal refinement of Italian opera (mostly evident in the lovers' music) with the declamatory immediacy and scenic splendor (particularly in the extensive choruses and ballets) of French opera. Carefully written, harmonically daring, purged of melodic ornamentation, orchestrally opulent, "Guillaume Tell" represents a final purification of Rossini's style, possibly his best creation.
When I first listened through it, I couldn't believe just how ideal it was: the whole opera is composed on one breath, there are virtually no self-borrowings, as Rossini usually did, moreover, each piece has its' logical place in the whole opera, making for a thoroughly delightful experience; the story is exciting and, though not without its' problems (Arnoldo and Matilde being an archetypal pair of lovers), is believable; even running at four hours, the work never grows boring, on the contrary, I found myself almost hoping that something less than charming would pop out, but no, the composer presents us with inspiration on every corner. In short, it's a crowning achievement of Rossini's career. But let us pass onto the music itself.
It is truly impossible to choose any favorites from the score, as it has just too many inspired pages; my choices are thus dictated purely by my personal tastes: I've decided to post both ballet sequences and the choruses attributed to them; the first two finales, including the famous meeting of the Swiss at night; three arias, one each for the three main protagonists; a duet for Tell and Arnoldo and, of course, the overture. I do think that these pieces represent the work at its' best, though I would urge you to find yourself a complete version and listen to it from beginning to the very end. It's well worth an evening of your time :).
The version of the score that I have chosen to represent it is, in my opinion, the best rendition readily available: recorded with a star cast (Sherill Milnes, Luciano Pavarotti, Mirella Freni are only some of the names appearing in it) in between 1978-1979 under the leadership of Chailly, the recording, though sung in Italian, is, in a word, an ideal representation of the piece, as it captures both the dramatic intensity of the text and the orchestration and the sheer vocal splendor that Rossini provided to his audience. We start with the overture.
The overture to "Guillaume", well-known separately from the work, is a forerunner of things to come. Like the opera-proper to follow, it is superbly dramatical, featuring not two or three, as per tradition, but four highly individual movements. The whole overture seems, unlike most Rossini's orchestral opening to his operas, intimately connected with the opera itself, as it is, basically, an invocation of Switzerland.
3. Ranz des Vaches (call to the dairy cows) features a melting solo for the English horn with delightful flute flourishes over sustained strings. Perhaps, Rossini best orchestral movement.
4. The famous galop "cavalry charge" is heralded by trumpets and played by full orchestra. A most fitting ending to a wonderful overture.
Hope you'll enjoy :)!
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 | Gioachino Rossini - Guglielmo Tell (Guillaume Tell) - Overture (Chailly) - No. 1 & 2. The Prelude & The Storm
Tags: belcanto, classical, Guglielmo, Guillaume, Overture, Rossini, Tell
Description:
With "Guillaume Tell" Rossini finally offered Parisian audiences an original opera in French, though the public wouldn't be too excited by Rossini's experiment with the genre and the opera; coldly received at the premiere, not often performed after, never truly forgotten, but not a popular favorite, the work has only recently went through a veritable Renaissance on the wave of reappraisal belcanto has enjoyed for the past fifty years and it absolutely deserves our reevaluation. Into its historical panorama based on the play by Schiller Rossini wove pastoral elements, patriotic deeds and superbly drawn characters. He responded imaginatively to the challenge of creating a work for the French Opera without abandoning his Italian roots, integrating the belcanto lyricism and formal refinement of Italian opera (mostly evident in the lovers' music) with the declamatory immediacy and scenic splendor (particularly in the extensive choruses and ballets) of French opera. Carefully written, harmonically daring, purged of melodic ornamentation, orchestrally opulent, "Guillaume Tell" represents a final purification of Rossini's style, possibly his best creation.
When I first listened through it, I couldn't believe just how ideal it was: the whole opera is composed on one breath, there are virtually no self-borrowings, as Rossini usually did, moreover, each piece has its' logical place in the whole opera, making for a thoroughly delightful experience; the story is exciting and, though not without its' problems (Arnoldo and Matilde being an archetypal pair of lovers), is believable; even running at four hours, the work never grows boring, on the contrary, I found myself almost hoping that something less than charming would pop out, but no, the composer presents us with inspiration on every corner. In short, it's a crowning achievement of Rossini's career. But let us pass onto the music itself.
It is truly impossible to choose any favorites from the score, as it has just too many inspired pages; my choices are thus dictated purely by my personal tastes: I've decided to post both ballet sequences and the choruses attributed to them; the first two finales, including the famous meeting of the Swiss at night; three arias, one each for the three main protagonists; a duet for Tell and Arnoldo and, of course, the overture. I do think that these pieces represent the work at its' best, though I would urge you to find yourself a complete version and listen to it from beginning to the very end. It's well worth an evening of your time :).
The version of the score that I have chosen to represent it is, in my opinion, the best rendition readily available: recorded with a star cast (Sherill Milnes, Luciano Pavarotti, Mirella Freni are only some of the names appearing in it) in between 1978-1979 under the leadership of Chailly, the recording, though sung in Italian, is, in a word, an ideal representation of the piece, as it captures both the dramatic intensity of the text and the orchestration and the sheer vocal splendor that Rossini provided to his audience. We start with the overture.
The overture to "Guillaume", well-known separately from the work, is a forerunner of things to come. Like the opera-proper to follow, it is superbly dramatical, featuring not two or three, as per tradition, but four highly individual movements. The whole overture seems, unlike most Rossini's orchestral opening to his operas, intimately connected with the opera itself, as it is, basically, an invocation of Switzerland.
1. The opening prelude is a slow passage with low-pitch instruments such as cello and bass, setting a very romantic mood of a dawn over the mountains, possibly representing both the pastoral setting of the whole work and the oppressed atmosphere in which the Swiss are forced to live under the Austrian dictatorship.
2. A storm suddenly breaks over the scenery in a highly dynamic section played by full orchestra. Not only does the section represent an actual storm but also the aggression against the invaders that the Swiss are harboring inside themselves, waiting to explode at any minute. It leads naturally, through a "bird call" into the next piece.
Hope you'll enjoy :)!
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 | G. Rossini - Guglielmo Tell (sinfonia) - (2a parte)
Tags: band, banda, filarmonica, firenze, florence, guglielmo, orchestra, pergola, philharmonic, rossini, tell
Description:
Tratto dal Concerto di Natale 2005
Firenze 27.12.2005
Teatro della Pergola
Video: amatoriale
Audio: professional
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 | Caballé sings Rossini
Tags: caballe, giacomo, guglielmo, montserrat, opera, rossini, tell
Description:
Montserrat Caballé sings "Sombre fôret" from Rossini's opera Guglielmo Tell.
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 | John Osborn_ Arnoldo Cabaletta from Rossini: Guglielmo Tell
Tags: amis, arnoldo, cabaletta, cecilia, guglielmo, guillaume, john, osborne, rossini, santa, tell
Description:
Live in Rome
Accademy of Santa Cecilia
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 | Gioachino Rossini - Guglielmo Tell - "Tutto apprendi, o sventurato" (Mirella Freni & Luciano Pavarotti)
Tags: coloratura, Freni, Pavarotti, Rossini
Description:
The series of musical excepts from Giachino Rossini's operas, entitled "Master of Belcanto", continues with new uploads and a whole new concept.
I decided to do something a bit different for my new upload: a compilation based on a single theme which is featured prominently in all selections. The first theme is love (what else :)?). The compilation is entitled: "Tornami a dir che m'ami".
Originally, I had planned a more diverse program which would have included arias as well as duets. But when I saw the size of the content I wanted to upload (the remaining compilation is about two hours long), I decided to do love arias as a separate series.
The chosen items include love scenes from the very first to the very last operas by Rossini. We start at "L'occasione fa il ladro" with a simple pastoral duet and finish at the beginning of the second act of "Guillaume Tell" with a romantic grand scena. Such an approach gives us a chance to understand how Rossini's composing style changed with each passing year. The presented excepts are listed below with some notes detailing their characteristics.
As the whole compilation is quite large, I'm going to upload everything slowly.
1) «Se non m'inganna il core» for Alberto and Berenice from «L'occasione fa il ladro».
http://www.youtube.com/watch?v=5G7oEY...
2) «Quanto e dolce a un'alma amante» for Florville and Sofia from "Il Signor Bruschino".
http://www.youtube.com/watch?v=JhnGNd...
3) "L'aura che intorno spiri" for Amenaide and Tancredi from "Tancredi".
http://www.youtube.com/watch?v=chud9_...
4) "Credete alle femmine" for Selim and Fiorilla from "Il turco in Italia".
http://www.youtube.com/watch?v=Muw9K8...
5) "Quest'ultimo addio" for Torvaldo and Dorliska from "Torvaldo e Dorliska".
http://www.youtube.com/watch?v=zocAya...
6) "Ah qual colpo" for Almaviva and Rosina (plus, Figaro) from "Il barbiere di Siviglia".
http://www.youtube.com/watch?v=yk3uP2...
7) "Un soave che non e" for Ramiro and Angelina from "La Cenerentola".
http://www.youtube.com/watch?v=gxLHxW...
8) "Amor! Possente nome" for Armida and Rinaldo from "Armida".
http://www.youtube.com/watch?v=2qMyMK...
http://www.youtube.com/watch?v=rma-wu...
9) "Ah! Se puoi cosi lasciarmi" for Elcia and Osiride from "Mose in Egitto".
http://www.youtube.com/watch?v=S0zNGO...
10) "Vivere io non potro" for Elena and Malcolm from "La donna del lago".
http://www.youtube.com/watch?v=z2CPPQUFNjg
11) "Ah! Capisco! Non parlate" for Matilde, Corradino, Isidoro and Ginardo from "Matilde di Shabran".
http://www.youtube.com/watch?v=Hy-qCc8QXHM
12) "Ah, quel respect, Madame" for Adele & Ory from "Le comte Ory".
http://www.youtube.com/watch?v=v3Ci1abmPZA
13) "Tutto apprendi, o sventurato" for Matilde and Arnoldo from "Guglielmo Tell".
http://www.youtube.com/watch?v=UjdJ7NlLV0s
Well, this is the last selection from the official collection that I'm going to post, though I already have some supplements lined up: an earlier version of the duettino from "Signor Bruschino", a wonderful piece from "Elisabetta", some less typical duets (i.e. between soprano and bass; mezzo and bass) etc. Here we go.
The scene for Arnold and Matilde is one of Rossini's truly Wagnerian pieces complete with heavy orchestrations. And yet, we almost return to the very first couple of duettinos narratively speaking: we again find the lovers contemplating their future together amongst no less than a coup d'etat. Moreover, the structure of the duet is again a repeat of the old form (moderato - andante - allegro). Still, such a traditional approach proves the fact that "practice makes perfect".
Here we have one of operas golden couples, Mirella Freni and Luciano Pavarotti, in one of their best joint ventures. Hope you enjoy :)!
P.S. After I finish posting everything connected with this collection, I am going to start creating another one: "the Great Quintet" which is a compilation of music written for five singers, closely associated with Rossini's music: the soprano Colbran, the tenors Nozzari and David, the contralto Pesaroni and, finally, the bass Galli. I will try to concentrate chiefly on ensembles but an aria for each of the five is bound to find it's way into the collection :).
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 | Rossini: Guglielmo Tell (Opus Arte)
Tags: alla, arte, Giorgio, Guglielmo, Luca, Muti, opera, opus, opusarte, Riccardo, Ronconi, Rossini, Scala, Teatro, Tell, Zancanaro
Description:
www.opusarte.com / Riccardo Muti conducts a fine cast led by Giorgio Zancanaro in the title role of Rossini's towering and opulent last opera, filmed in 1988, with the Corps de Ballet, Orchestra and Chorus of Teatro alla Scala. More info at: www.opusarte.com
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