mer de noms, an italian a perfect circle tribute band in their studio playing songs from “mer de noms”. palo del colle , bari
Jun
7
Jun
5
Tags: avemano, caviesel, Christ, cristo, era, gibson, Jesus, Jim, Magdalena, Maria, Mel, orchestral, pasión, passion, Recut, religion
vida y muerte de cristo
Mar
26
Festivalul Castanilor, Ploieşti, 2007
www.lucianv.wordpress.com
Mar
26
Festivalul Castanilor, Ploieşti, 2007
www.lucianv.wordpress.com
Mar
26
Folk You 2007 - Vama Veche 10 - 11 august
Mar
9
canal magdalena - Enseñame
Mar
8
Presentacion Cienaga www.Miriohacha.com
Mar
8
Croatia Entry to Eurovision 1999
Singer: Doris Dragovic
Song: Marija Magdalena
EuroSims Placing: 4th (173 Points)
Mar
6
en el banco magdalena el grupo de danzas Iguana de la Universidad Pontificia Bolivariana se presento obteniendo muy buenos comentarios de por parte de los jurados como Gloria Triana y Toto la Monposina.
Mar
6
Tags: Agitata, Antonio, devicta, flatu, Holofernes, Infido, Juditha, Kozena, Magdalena, mezzo, oratorio, soprano, Triumphans, vivaldi
Antonio VIVALDI (1678 - 1741)
Juditha Triumphans RV644 (I, 19) (1716)
Agitata infidu flatu
Aria of Juditha
for alto, strings and continuo
Score:
http://icking-music-archive.org/ByComposer/Vivaldi.php
Text: Giacomo Cassetti
Aria extract from the recording with:
Magdalena Kožená, mezzo-soprano, Juditha
Maria José Trullu, contralto, Holofernes
Marina Comparato, soprano, Vagaus
Anke Herrman, mezzo-soprano, Abra
Tiziana Carraro, mezzo-soprano, Ozias
Academia Montis Regalis
Chamber Choir of the National Academy of Santa Cecilia.
Conductor: Alessandro de Marchi
Recording in October 2000, Instituto de Musica Antica
Academia Montis Regalis, Mondovi, Italy.
This oratorio, labelled a “sacrum militare oratorium,” was composed in Venice in 1716, and is the only one of four composed by Vivaldi to survive. Written, of course, when the “red priest” was in charge of music at the girls’ orphanage of Ospedale della Pietà, it is a remarkable testimony to the wealth of talent and training available in this large institution. To recreate the impact of the first Pietà performance for this recording, women sing all the roles along with an all-woman chorus.
It uses the story of the Judith from the Old Testament and her victory over the forces of King Nebuchadnezzar. In telling this story, Vivaldi structured the work for maximum dramatic impact and this comes closer to the spirit of opera than other baroque oratorios.
Juditha:
Agitata infido fatu
Diu volatu
Vagabundo
Maesta hirundo
It plorando
Boni ignara.
Sed impulsu aurae serenae
Tantae cito oblita poenae
In dilecta
Dulcia tecta
Gaudii ridet haud avara.
