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Il Crociato in Egitto - Naxos Music Library

Il Crociato in Egitto - Naxos Music Library

Il Crociato in Egitto - Naxos Music

MEYERBEER Il Crociato in Egitto ORC 10 in association with Box cover and CD inlays Set design by Alessandro Sanquirico for 1826 production at La Scala, Milan. Arrival of the crusader into the Port of Damiette (akg-images/Pietro Baguzzi) Booklet cover Velluti as Armando, London 1825, watercolour by Chalon (Opera Rara archive) Opposite Giacomo Meyerbeer (Opera Rara archive) –1–

  • Page 2 and 3: GIACOMO MEYERBEER IL CROCIATO IN EG
  • Page 4 and 5: CONTENTS Meyerbeer in Italy by Don
  • Page 6 and 7: Dur Page [18] Tutto d’intorno (Ad
  • Page 8 and 9: Dur Page [14] Ah! Questo è l’ult
  • Page 10 and 11: MEYERBEER IN ITALY By Don White JAK
  • Page 12 and 13: London to hear JB Cramer play, and
  • Page 14 and 15: friendship was struck up between th
  • Page 16 and 17: As I am of the opinion that Der Fre
  • Page 18 and 19: GAETANO CRIVELLI Adriano in the fir
  • Page 20 and 21: considered unusual harmonic integra
  • Page 22 and 23: ENRICHETTA MÉRIC-LALANDE, Palmide
  • Page 24 and 25: The esteemed Maestro gained admirat
  • Page 26 and 27: timbre and the energy of his expres
  • Page 28 and 29: ADELAIDE TOSI, Palmide in the 1824
  • Page 30 and 31: CATERINA CANZI Palmide in the 1824
  • Page 32 and 33: fragments, but forming an entire an
  • Page 34 and 35: himself with the greatest zeal in p
  • Page 36 and 37: MARIA MALIBRAN Felicia in the 1825
  • Page 38 and 39: of coffee and a little dry toast fo
  • Page 40 and 41: The opera was a brilliant success -
  • Page 42 and 43: variations originally written for h
  • Page 44 and 45: After Robert le Diable came Les Hug
  • Page 46 and 47: Costume design for Giuditta Pasta (
  • Page 48 and 49: One of the most famous pieces in th
  • Page 50 and 51: Italian opera of the 19th century b
  • Page 52 and 53:

    Costume design for Ester Mombelli (

  • Page 54 and 55:

    from your grand talent. The occasio

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    composed by Francesco Morlacchi. (T

  • Page 58 and 59:

    first a romance for the contralto,

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    in the genre (instead she repeats F

  • Page 62 and 63:

    Costume design for Domenico Donzell

  • Page 64 and 65:

    includes a lengthy discussion of th

  • Page 66 and 67:

    Obviously, the censor had certain p

  • Page 68 and 69:

    contract becomes even more surprisi

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    Costume design for a member of the

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    Detail from a poster for the first

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    with scarcely a hope of ever return

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    Son courage et ses manières insign

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    zum Freund wurde und ihn in den Sch

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    icambiata. Lontano dal proprio paes

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    CD1 66’24 ACT ONE [1] SCENE I A s

  • Page 84 and 85:

    La regal vergine a noi già recasi,

  • Page 86 and 87:

    SLAVES Pace! Oh speme! Pur vero sar

  • Page 88 and 89:

    PALMIDE Io! No - ma sappi... Me! No

  • Page 90:

    Al figlio d’amor: The child of lo

  • Page 93 and 94:

    Diana Montague (Armando)

  • Page 95 and 96:

    ARMANDO Mi fai tremar. You make me

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    Qui Aladino ingannato Here I have d

  • Page 99 and 100:

    SCENE VIII [12] ALMA Palmide sventu

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    Lieta bacia, accarezza la nave... J

  • Page 104 and 105:

    Che là v’attende il mio signore;

  • Page 106 and 107:

    Della Jones (Felicia)

  • Page 108 and 109:

    Un Cavalieri di Rodi! A Knight of R

  • Page 110 and 111:

    CD 2 75’38 [1] ADRIANO Va’: gi

  • Page 112 and 113:

    ADRIANO Nel duolo, nel pianto In gr

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    Io te invoco... per te giuro, I inv

  • Page 116 and 117:

    PALMIDE E se... Mirva! And should..

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    PALMIDE Giura il segreto. Swear sec

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    Sotto il bel ciel della natia Prove

  • Page 122 and 123:

    David Parry (conductor)

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    PALMIDE Io reggo appena... I can ha

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    In suo giusto dolor. Di te che fia,

  • Page 128 and 129:

    ARMANDO Mio zio! Raggio celeste a q

  • Page 131 and 132:

    OSMINO È’pronta già... All is r

  • Page 133 and 134:

    ADRIANO Tutti? All of them? ALADINO

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    Spento già su queste arene For fiv

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    E per lui ch’è a me sì caro And

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    ALADINO (to an Imam who goes to the

  • Page 141 and 142:

    Ian Platt (Aladino)

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    Che i miei voti sprezzò, che That

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    Esser potrà il fanciullo - e allor

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    EMIRS Forse porrai salvarlo ancor.

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    Patric Schmid (left), producer, and

  • Page 151 and 152:

    SCENE VIII Aladino, Osmino and Emir

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    A te sorridere Smiles at you Nel su

  • Page 155 and 156:

    Ugo Benelli (Osmino)

  • Page 157 and 158:

    SCENE X Armando enters ADRIANO (joy

  • Page 159 and 160:

    ARMANDO Perdono... pietà. Forgive

  • Page 161:

    SCENE XII ALADINO Che mai volge in

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    Linda Kitchen (Alma)

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    ARMANDO Tu sei già sposa, e madre

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    FELICIA In te dunque una suora Shal

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    SCENE XV Aladino, Osmino, Emirs and

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    ALADINO A tutti voi la morte My fur

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    I traditori It will be able Punir s

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    FELICIA Adriano!... Gran Maestro! A

  • Page 179 and 180:

    Ai prodi si chiede? For their sword

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    [20] ADRIANO/KNIGHTS Or de’ marti

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    [3] Il dì rinascerà Day will brea

  • Page 186 and 187:

    KNIGHTS Voi ci porgete i brandi? Yo

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    ALADINO Superbi! Ingrati! E il vost

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    Gioite omai con me. Now rejoice wit

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    Quelle schiere, o Signor, che a me

  • Page 194 and 195:

    ARMANDO (to Aladino) Regna all’om

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    Alzano or pace, e umanità. Gli ero

  • Page 198 and 199:

    ACT TWO D’UN GENIO CHE L’ISPIRA

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    which he had written for Rosmunda P

  • Page 202 and 203:

    E per me sventurata ognor sarai. An

  • Page 204 and 205:

    Le vostre spade a noi Haughty men,

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    [23] La gloria celeste, Heavenly gl

  • Page 208 and 209:

    Un re tradito, amici, si difenda Fr

  • Page 210 and 211:

    [27] PALMIDE/ARMANDO Padre! Sposo/a

  • Page 212:

    Sir Peter Moores

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