Notwithstanding the fact that the opera was virtually still-born, a series of contemporary manuscript scores can be found today in the music libraries of Europe and America, while the autograph draft of Rossini seems to be lost. The surviving sources provide two versions that are substantially different enough: one, more complete, with the verses and whole sections that the censors wanted either to cut out or to modify, probably represents the original version; the other, characterized by new verses and typical cuts in the interest of brevity but also with instrumental passages simplified with respect to the other version, reflects, very probably, the version actually staged in Bologna in the only three performances in 1811.On the occasion of the revival of the opera at the Rossini in Wildblad Festival in July 2000, the new edition prepared for the Deutsche Rossini Gesellschaft, which follows an earlier attempt at reconstruction of the score in 1965, vitiated by clumsy revisions unacceptable today, is therefore put forward as a reconstruction of the version directly staged by Rossini, with the last minute cuts and changes. One exception is the reinstatement of a short section in the first act Finale (the 'foot scene'), evidently cut by Rossini not for artistic reasons but by the censorship for obvious reasons of good taste; to omit here the pure comedy of such a passage would have seemed a disservice to Rossini, who willingly accepted it and set it to music.Marco Beghelli - Stefano Piana
Notwithstanding the fact that the opera was virtually still-born, a series of contemporary manuscript scores can be found today in the music libraries of Europe and America, while the autograph draft of Rossini seems to be lost. The surviving sources provide two versions that are substantially different enough: one, more complete, with the verses and whole sections that the censors wanted either to cut out or to modify, probably represents the original version; the other, characterized by new verses and typical cuts in the interest of brevity but also with instrumental passages simplified with respect to the other version, reflects, very probably, the version actually staged in Bologna in the only three performances in 1811.On the occasion of the revival of the opera at the Rossini in Wildblad Festival in July 2000, the new edition prepared for the Deutsche Rossini Gesellschaft, which follows an earlier attempt at reconstruction of the score in 1965, vitiated by clumsy revisions unacceptable today, is therefore put forward as a reconstruction of the version directly staged by Rossini, with the last minute cuts and changes. One exception is the reinstatement of a short section in the first act Finale (the 'foot scene'), evidently cut by Rossini not for artistic reasons but by the censorship for obvious reasons of good taste; to omit here the pure comedy of such a passage would have seemed a disservice to Rossini, who willingly accepted it and set it to music.Marco Beghelli - Stefano Piana
730099608725

Details

Format: CD
Label: NXS
Catalog: 8660087
Rel. Date: 08/20/2002
UPC: 730099608725

L'equivoco Stravagante
Artist: V. BELLINI
Format: CD
New: Not currently in stock
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DISC: 1
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1. Sinfonia
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2. Introduzione: Si Cela In Quelle Mura...
3. Recitativo: Nei Tempi In Cui La Zappa Io Maneggiava
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4. Cavatina: Occhietti Miei Vezzosi
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5. Recitativo: Ch'io Sia Bello Convengono
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6. Duettino: Ah, Vieni Al Mio Seno
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7. Recitativo: Che Fa La Cara Sposa
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8. Cavatina: Oh Come Tacita... Nel Cor Un Vuoto Io Provo
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9. Recitativo: Miei Letterati, Figli Di Mercurio
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10. Coro: Andrem, Vedrem, Faremo
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11. Recitativo: Figlia! / Mio Generante! / Aspettan Fermi
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12. Quartetto: Ti Presento A Un Tempo Istesso
13. Recitativo: Le Macchine Corporee
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14. Aria: Parla, Favella, E Poi
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15. Recitativo: Non Vorrei Che Tradito
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16. Aria: Quel Furbarel D'Amore
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17. Recitativo: Che Ne Dite, Maestro
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18. Duetto: Si, Trovar Potrete Un Altro
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19. Recitativo: No, Signor Buralicchio
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20. Terzetto Nel Finale I: Volgi Le Amabili
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21. Finale I: Che Vedo, Oh Stelle!
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1. Introduzione: Perche Sossopra
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2. Aria: Vedrai Fra Poco Nascere
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3. Recitativo: Ei Vien Da Quella Parte
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4. Duetto: Vieni Pur, A Me T'Accosta
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5. Recitativo: Che Briccone! Al Vederlo
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6. Recitativo E Aria: E Mi Lascia Cosi? Sento Da Mille Furie
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7. Recitativo: Miralo, Rosalia, Ei Fugge
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8. Quintetto: Speme Soave, Ah, Scenda
9. Recitativo: La Padrona In Arresto?
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10. Aria: Il Mio Germe, Che Di Pallade
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11. Recitativo: Si Io Non Fossi Certo
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12. Cavatina: D'un Tenero Ardore
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13. Scena E Rondo: Il Periglio Passo... Se Per Te Lieta Ritorno
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14. Recitativo: Avete Fatto Male
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15. Finale Secondo: Scappero: Questo Mi Pare
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Details:

Petrova/vinco/schmunck/&
Zedda/czech chbr chorus & solo

More Info:

Notwithstanding the fact that the opera was virtually still-born, a series of contemporary manuscript scores can be found today in the music libraries of Europe and America, while the autograph draft of Rossini seems to be lost. The surviving sources provide two versions that are substantially different enough: one, more complete, with the verses and whole sections that the censors wanted either to cut out or to modify, probably represents the original version; the other, characterized by new verses and typical cuts in the interest of brevity but also with instrumental passages simplified with respect to the other version, reflects, very probably, the version actually staged in Bologna in the only three performances in 1811.On the occasion of the revival of the opera at the Rossini in Wildblad Festival in July 2000, the new edition prepared for the Deutsche Rossini Gesellschaft, which follows an earlier attempt at reconstruction of the score in 1965, vitiated by clumsy revisions unacceptable today, is therefore put forward as a reconstruction of the version directly staged by Rossini, with the last minute cuts and changes. One exception is the reinstatement of a short section in the first act Finale (the 'foot scene'), evidently cut by Rossini not for artistic reasons but by the censorship for obvious reasons of good taste; to omit here the pure comedy of such a passage would have seemed a disservice to Rossini, who willingly accepted it and set it to music.Marco Beghelli - Stefano Piana