This studio recording was made in 1989 coinciding with a memorable production from the Metropolitan Opera, later captured on DVD. It's a delightful performance, and a wonderful highlight of Pavarotti's later career. Kathleen Battle's sparkling soprano is a brilliant accompaniment to Pavarotti's still-ringing tone.
"Pavarotti's voice was still beautiful and pliable, his phrasing exquisite. And he loved the role of Nemorino and always seemed happy with both its comedy and pathos–he steals every scene he's in, and no one minds…Kathleen Battle sings Adina with perfect, pearl-like tone, absolute fluency and commitment, and a trill to die for…Enzo Dara is an ideal Dulcamara, just the right combination of huckster and sentimentalist, with ease in every register and with fast music."
– Robert Levine, ClassicsToday.com
I temi, i metodi di ricerca, i principali campi di applicazione in un percorso ricco di esempi: questa la lezione di uno dei maggiori studiosi europei per conoscere la disciplina che studia le relazioni fra lingua e società. Gaetano Berruto insegna Linguistica generale e Sociolinguistica all'Università di Torino. Si è occupato, oltre che di sociolinguistica, di dialettologia, di semantica, di linguistica applicata, dell'italiano parlato e di linguistica del contatto. …
L’opera si propone di fornire agli studenti e ai docenti uno strumento didattico completo, efficace, di facile consultazione e che consente di misurare in modo continuo il grado di apprendimento degli argomenti. A tal fine la trattazione è arricchita da frequenti esempi e ogni unità didattica è corredata da numerosi esercizi e test di verifica. …
The booklet flags the “impressive similarity” between Giuseppe Gazzaniga’s Don Giovanni, premiered in February 1787, and Mozart’s masterpiece first heard in Prague later the same year. True, there are occasional superficial musical resemblances; and while Da Ponte despised the librettist Giovanni Bertati as a “dramatic cobbler”, he was happy to appropriate many of his ideas for his own Don Giovanni libretto. What strikes you time and again, though, is the fathomless gulf between Gazzaniga’s casually structured one-act romp, designed as a play-within-a-play for the Venice Carnival, and Mozart’s tragi-comic masterpiece.
Ten years after the success of the Neapolitan cello concertos, accompanied by the Ensemble 415 conducted by Caccompanied by the Ensemble 415 conducted by Chiara Banchini (ZZT, here offered as a bonus), Gaetano Nasillo comes full circle with this collection of Neapolitan cello sonatas, a worthy sequel to the previous recording. Best known for its contributions to vocal music, Naples was also one of the birthplaces of the modern violoncello: the programme provides a fascinating overview of the Neapolitan repertoire for the instrument from its onset at the end of the 17th century to the second half of the 18th century.
Marie, found abandoned as a baby on the battlefield, was adopted and raised by soldiers. She is the darling of the regiment. When a Marquise tells the Sergeant that Marie is actually her niece and she must leave the regiment, the troops are heartbroken. The Marquise plans to educate and marry Marie in a manner befitting a lady of quality, but Marie wants only to return to her regiment and the man she loves.