“Alarico il Baltha, cio\u00e8 l’Audace, R\u00e8 de Gothi” (1687) – “Hor che sola qui resto … Gi\u00e0 cominci a farmi piangere” Recitative and Lamento of Sabina – II Act – IV Scene – Agostino Steffani (1654 – 1728) – COMPLETE WORLD PREMIERE.<\/p>\n
Centaurus Music Int. Studio Recording “Agostino Steffani – Alarico il Baltha, cio\u00e8 l’Audace, R\u00e8 de Gothi (1687) – COMPLETE WORLD PREMIERE ” – \u2117 2004
\nSecond edition Concerto Classics-Naxos – \u2117 2009
\n\u00a9 Luca Casagrande.
\n–
\nMaria Carla Cur\u00eca Soprano (Sabina)
\nScarlatti Camera Ensemble
\nArtistic Director and Producer Luca Casagrande.<\/p>\n
“A lament or lamentation is a passionate expression of grief, often in music, poetry, or song form. The grief is most often born of regret, or mourning. A heroine’s lament is a conventional fixture of baroque opera seria, accompanied usually by strings alone, in descending tetrachords. Because of their plangent cantabile melodic lines, evocatively free, non-strophic construction and adagio pace, operatic laments have remained vividly memorable soprano or mezzo-soprano arias even when separated from the emotional pathos of their operatic contexts.”
\n–
\nACT II SCENE IV<\/p>\n
Sabina<\/p>\n
Hor che sola qui resto
\nMemorie del mio Bene
\nEco fate dall\u2019Alma alle mie Pene.<\/p>\n
Gi\u00e0 cominci a farmi piangere
\nO Tiranno Infante Arcier.
\nGiungi al Foco del mio Seno
\nIl Veleno
\nDi Spietata Lontananza,<\/p>\n
Et in Grembo alla Costanza
\nMi condanni \u00e0 penare o Dio sever.<\/p>\n","protected":false},"excerpt":{"rendered":"
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