Antonio Salieri

Antonio Salieri and Viennese Opera  eBooks & eLearning

Posted by Jeembo at April 22, 2018
Antonio Salieri and Viennese Opera

Antonio Salieri and Viennese Opera by John A. Rice
English | 1999 | ISBN: 0226711250 | 668 Pages | PDF | 129.7 MB

Many know Antonio Salieri only as Mozart's envious nemesis from the film Amadeus. In this well-illustrated work, John A. Rice shows us what a rich musical and personal history this popular stereotype has missed.
Jean-Claude Malgoire, Deutsche Handel Solisten - Antonio Salieri: Tarare (2005)

Jean-Claude Malgoire, Deutsche Händel Solisten - Antonio Salieri: Tarare (2005)
NTSC 4:3 (720x420) | Francais (LinearPCM, 2 ch) | 175 min | 7.55 Gb (DVD9)
Classical | Label: Arthaus Musik | Sub: Francais, Deutsch, English, Espanol, Italiano, Japanese | Recorded: 1988

The work is an extraordinary curiosity; a child of the heady days just before the French Revolution, Tarare is the famous French writer's only opera and one of the Italian composer's rare French scores. First and most strikingly a work of social and political commentary, Tarare is also an entertaining work of theatre. Salieri's music supports these aims admirably and offers a few memorable moments of its own. As an opera form, Tarare defies easy categorization; it may be best described as a comedic satire dressed in the clothes of a sprawling 5 act lyric tragedy, complete with Prologue and a grand divertissement with dance.
Arnold Ostmann, Radio Symphony Orchestra Stuttgart - Antonio Salieri: Falstaff (2000)

Arnold Östmann, Radio Symphony Orchestra Stuttgart - Antonio Salieri: Falstaff (2000)
PAL 4:3 (720x576) | Italiano (LinearPCM, 2 ch) | 120 min | 6.18 Gb (DVD9)
Classical | Label: Arthaus Musik | Sub: German, English, French, Dutch

Antonio Salieri set Shakespeare’s comedy The Merry Wives of Windsor to music in 1799, and his work was successfully premiered in Vienna the same year. Michael Hampe staged Salieris’s Falstaff at the Schwetzingen SWR Festival in 1995 with similar success – wonderfully supported by the Stuttgart Radio Symphony Orchestra and conductor Arnold Östman. The libretto by Carlo Prospero Defranceschi reduces Shakespeare’s original play to a few main characters and drastically simplifies the plot. This gives John Del Carlo, Teresa Ringholz, Richard Croft and Delores Ziegler a lot of space for their artistic interpretation and brilliant singing. The work lives from the wealth of the Italian opera buffa and absorbed influences from the German Singspiel (song-play), and delights with a number of great arias.
Aurele Nicolet, Heinz Holliger - Antonio Salieri, Domenico Cimarosa, Carl Stamitz: Concertos for Flute And Oboe (1986)

Antonio Salieri, Domenico Cimarosa, Carl Stamitz: Concertos for Flute And Oboe (1986)
Aurèle Nicolet, flute; Heinz Holliger, oboe
Academy of St. Martin in the Fields; directed by Kenneth Sillito

EAC | FLAC | Image (Cue&Log) ~ 255 Mb | Mp3 (CBR320) ~ 144 Mb | Scans included
Genre: Classical | Label: Philips | # 416 359-2 | Time: 00:54:55

A cheerful little record, this, of three lightweight works played most exquisitely by very distinguished artists. In fact I am not sure that the chief distinction doesn't emanate from the orchestra: it is a while, as it happens, since I have heard the Academy of St Martin in the Fields and they seem to be playing here better than ever—sweet string tone, pure intonation, finely moulded phrasing, impeccably precise ensemble. Of the three works, the Cimarosa, written for two flutes (in which form it has several times been recorded), is the most attractive for its fluency, its melodiousness (the finale is a real charmer) and its elegant musical form; the Salieri seems by comparison rather carefully devised, though of course it has plenty of entertaining music. Carl Stamitz's piece takes itself more seriously, trying to be symphonic and taking less trouble about being tuneful—though the warm, galant slow movement makes very pleasing listening. The recorded sound is clear and true. (Stanley Sadie, Gramophone)
Alberto Veronesi, Orchestra Guido Cantelli of Milan - Antonio Salieri: Falstaff (1998)

Alberto Veronesi, Orchestra Guido Cantelli of Milan - Antonio Salieri: Falstaff (1998)
EAC | FLAC | Image (Cue & Log) ~ 667 Mb | Total time: 74:42+69:25 | Scans included
Classical | Label: Chandos | # CHAN 9613(2) | Recorded: 1997

By far the best opera based on Shakespeare's The Merry Wives of Windsor, is Verdi's Falstaff. But the lazy, cowardly, greedy, overweight, alcohol-soaked, sexually predatory, and somehow (despite everything) endearing antihero is big enough for more than one opera. Salieri's Falstaff is much simpler and smaller in scale than Verdi's, less inventive and energetic. But this is a sophisticated, funny, brightly performed treatment of Falstaff's attempt to woo two married women with identical love notes.
(Joe McLellan)

Antonio Salieri - Instrumental Works  Music

Posted by alekhno at Nov. 4, 2008
Antonio Salieri - Instrumental Works

Antonio Salieri - Instrumental Works
Classical | FLAC | 6 CD | Covers | 1,5Gb | rs.com
Wind Serenatas, Overtures, Scherzi, Divertimenti, Concertos & Symphonies
Il Grupo di Roma; Quartetto Amati; Slovak Radio Symphony Orchestra Bratislava;
Budapest Strings; London Mozart Players

Antonio Salieri - Operas & Sacred Vocal Music - 8cd  Music

Posted by alekhno at Nov. 4, 2008
629855
Antonio Salieri - Operas & Sacred Vocal Music - 8cd
Classical | FLAC | 8 CD | Covers | 2,8 Gb | rs.com
Axur Re D'Ormus, Falstaff, La Locandiera, Gesù al limbo; Te Deum, La Passione di Gesù Cristo

Philharmonic Orchestra of Russe René Clemencic; Jean-Claude Malgoire; Emilia Romagna Arturo Toscanini Orchestra, Fabio Luisi; Alberto Turco

L'arte del mondo - Salieri: La scuola de' gelosi (2016) [Official Digital Download]

L'arte del mondo - Salieri: La scuola de' gelosi (2016)
FLAC (tracks) 24-bit/48 kHz | Time - 161:18 minutes | 1.59 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

In its day La scuola de’ gelosi (1778) was one of the best-known comic operas by Antonio Salieri (1750–1825), remaining a box-office hit for decades. All the more astonishing is the fact that it could sink into obscurity. Even Goethe was excited by this masterpiece: “The opera is the audience’s favourite, and the audience is right. It contains an astonishing richness and variety, and the subject is treated with the most exquisite taste. I was moved by every aria.”
Werner Ehrhardt, L'arte del mondo - Salieri: La scuola de' gelosi [2016]

Salieri - La scuola de' gelosi (Werner Ehrhardt) [2016]
Classical | Deutsche Harmonia Mundi 88985332282 | TT: 69.19+57.42+34.13 | EAC (flac, cue, log) | Covers | 707 Mb

In its day La scuola de’ gelosi (1778) was one of the best-known comic operas by Antonio Salieri (1750–1825), remaining a box-office hit for decades. All the more astonishing is the fact that it could sink into obscurity. Even Goethe was excited by this masterpiece: “The opera is the audience’s favourite, and the audience is right. It contains an astonishing richness and variety, and the subject is treated with the most exquisite taste. I was moved by every aria.” In the wake of its world premiere in Venice in 1778, La scuola de’ gelosi was performed in opera houses all over Europe, from Dresden, Vienna, Prague and Paris to cities as far away as London and St Petersburg, before it passed into near-oblivion.
Consortium Classicum, Dieter Klöcker - Salieri: Harmoniemusiken (2011)

Consortium Classicum, Dieter Klöcker - Salieri: Harmoniemusiken (2011)
EAC | FLAC (image+.cue, log) | Covers Included | 65:34 | 299 MB
Genre: Classical | Label: Orfeo | Catalog: C 738111A

German clarinetist Dieter Klöcker founded his Consortium Classicum in the 1960s and has occasionally devoted it to the rediscovery of obscure repertory for wind instruments. The group has made several recordings of Harmoniemusik or wind-band (paired oboes, clarinets, horns, and bassoons) arrangements of operas of the late 18th century, many of which were made by oboist and composer Johann Nepomuk Wendt. Mozart's operas underwent these arrangements, sometimes even at Mozart's own hands (he pulled an all-nighter to rush one out for Die Entführung aus dem Serail to beat a competitor), for wind bands were maintained by numerous Austrian noble establishments. This impeccably played recording gives a taste of music that might easily have been heard at a Viennese soiree in the weeks after the premiere of an opera by Antonio Salieri, Mozart's putative rival.