La Semiramide in Villa  (Paisiello)    (2-Bongiovanni GB2486-87)
Item# OP3221
Availability: Usually ships the same business day

Product Description

La Semiramide in Villa  (Paisiello)    (2-Bongiovanni GB2486-87)
OP3221. LA SEMIRAMIDE IN VILLA (Paisiello), Live Performance, 2014, w.Giovanni di Stefano Cond. Orchestra da camera del Giovanni Paisiello Festival; Carolina Lippo (Madama Tenerina), Irene Molinari (Madama Placida), Fabio Perillo (Garofalo), Pasquale Arcamone (Monsieur Panbianco), etc. (Italy) 2-Bongiovanni GB2486-87, w.Libretto-Brochure. - 8007068248629


“The four-voice music intermezzo is a delightful parody of Metastasio's recognized SEMIRAMIS, made by many composers (Leonardo Vinci, Galuppi, Sarti, Salieri, Gluck, Traetta). In the libretto of Metastasio, the famous Babylonian queen, disguised, seeks a contender for her daughter Tamiri among the Scitalce princes (her former lover and preferred by the future bride), Ircano and Mirteo. Scitalces and Semiramis recognize themselves, causing jealousy of Ircano, who in a toast tries to poison the rival, but is discovered and, after long strikes, eventually manages to marry the queen while Tamiri joins Mirteo. In the text of an anonymous booklet used by Paisiello, tragedy changes into a bipartisan comedy. In the first part, which takes the title of LA SEMIRAMIDE IN THE VILLA, Panbianco's leader chooses in a hurry to set up Semiramis against the opinion of the singers: they tease the actors, the impresario and the same singers of the lyric companies, with the music that emphasizes the irony of these criticisms.

In the second part, titled LA SEMIRAMIDE BERNESCO, the grumpy company attempts a real stage show, with a change: at the time of the poisoning, Scitalce refuses to drink and the glass is offered to Ircano. At this point, the ‘theater in the theater’ game is interrupted to ridicule the superficiality of so many fittings of the time, often cluttered, real theater patchwork. A case of ironic metateatro in music that is not only found in Paisiello, but also, in Cimarosa and Donizetti.”

- Z. D. Akron