目录
| # | 曲目 | 时长 |
|---|---|---|
|
1 |
Sinfonia | 00:07:48 |
| 2 | Introduzione “Gira, gira, molinello” (Floreska) | 00:02:13 |
| 3 | Allegretto “Vieni qua, vieni qua, figliuola” (Floreska, Peters) | 00:02:11 |
| 4 | Accompagnato “Sono qua mia cara, addio” (Zeliska, Floreska, Peters) | 00:02:42 |
| 5 | Cantabile “Caro oggetto d’un affeto il più tenero e contento” (Zeliska, Floreska, Peters) | 00:02:27 |
| 6 | Allegro “Lo son allegro, io son contento” (Zeliska, Floreska, Peters) | 00:02:25 |
| 7 | Recitativo “Si Malvino, sta allegro e gia da un pezzo” (Peters, Zeliska, Floreska) | 00:04:26 |
| 8 | Recitativo “Sempre più son contento” (Peters, Floreska) | 00:00:37 |
| 9 | Aria “Non so, cosa sia” (Floreska) | 00:01:59 |
| 10 | Recitativo “Qui bisogna sbrigarsi” (Peters) | 00:00:30 |
| 11 | Recitativo “Siate pronti miei fidi” (Moroski) – Mio Signore (Peters) – Un espresso (Moroski, Peters) | 00:00:46 |
| 12 | Accompagnato “Qui mi scrive” (Moroski) | 00:00:54 |
| 13 | Aria “Ciel, che lessi quel periglio” (Moroski, Peters) | 00:04:41 |
| 14 | Recitativo “Lo vedesti” (Floreska, Zeliska) | 00:01:06 |
| 15 | Recitativo “Floreska, ritirati” (Zeliska, Floreska, Peters) | 00:00:35 |
| 16 | Recitativo “Lode al Cielo, siam soli” (Zeliska, Peters) | 00:02:06 |
| 17 | Scena “Si, ne profittero” (Zeliska) | 00:08:46 |
| 18 | Recitativo “Lasciami, che ho da fare” (Floreska, Peters) | 00:01:06 |
| 19 | Aria “L’oro a un colore” (Peters) | 00:04:20 |
| 20 | Recitativo “Sara ver quel che dice” (Floreska) | 00:00:32 |
| 21 | Scena “Qual notte eterna, spaventosa!” (Amorveno) | 00:06:16 |
| 22 | Aria “Cara immagine adorata” (Amorveno) | 00:03:41 |
| 23 | Accompagnato “Oh Dio, dolce illusione” (Amorveno) | 00:01:34 |
| 24 | L’Amor Conjugale, Scena XV: Recitativo “Animo, ma cos hai Paura” (Zeliska, Peters) | 00:02:25 |
| 25 | Romanza “Una moglie sventurata” – Prima stanza (Zeliska, Peters) | 00:02:31 |
| 26 | Recitativo “Ma che razza di canzon” (Zeliska, Peters) | 00:00:13 |
| 27 | Romanza “Scuopre alfin, che in nera tomba” – Seconda stanza (Zeliska, Peters) | 00:06:39 |
| 28 | Trio “Ah qual voce mi sorprende” (Amorveno, Zeliska, Peters) | 00:04:10 |
| 29 | Quartetto “Fra l’orror di questo abisso” (Zeliska, Amorveno, Moroski, Peters) | 00:08:23 |
| 30 | Accompagnato “Ecco tutto perduto” (Zeliska, Amorveno) | 00:02:18 |
| 31 | Duetto “Ah, ti stringo al seno omai” (Zeliska, Amorveno) | 00:05:19 |
| 32 | Finale – Sestetto “Vendetta, vendetta” (Zeliska, Floreska, Amorveno, Aderlao, Moroski, Peters) | 00:03:32 |
| 33 | Ah, perche non t’apri, o terra (Zeliska, Floreska, Amorveno, Aderlao, Moroski, Peters) | 00:03:35 |
专辑简介
A daring wife disguises herself in order to be hired as a prison guard and thus rescue her unjustly detained husband: the story of Leonora, taken from the French novel by Jean-Nicolas Bouilly, is familiar to us through Beethoven’s only opera.
The same story also inspired Giovanni Simone Mayr, a German composer who lived and taught in Bergamo. An adept of Italian bel canto, he counted Gaetano Donizetti as one of his pupils.
L’Amor Coniugale brought Mayr great success following its 1805 premiere in Padua and was revived many times. Love is not only at the centre of the plot, but also of the score, which cleverly combines orchestral writing inherited from Mozart and Haydn with the Italian vocal tradition. This ‘sacred union’ makes Mayr’s music highly appealing.
Revisited by David Stern and his Opera Fuoco in a complete, critical v
