This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1905 Excerpt: ...worthy of the glorious traditions of Venetian opera. The style of "Eraclea" is not altogether abandoned, but the airs are mostly broader and more dignified, besides having more material put into them. The characterization too is very good. Eupatore himself is perhaps a rather conventional primo uomo, but the tyrant ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1905 Excerpt: ...worthy of the glorious traditions of Venetian opera. The style of "Eraclea" is not altogether abandoned, but the airs are mostly broader and more dignified, besides having more material put into them. The characterization too is very good. Eupatore himself is perhaps a rather conventional primo uomo, but the tyrant Farnace, cynical and cowardly, is well drawn. Still finer creations are the two women. Stratonica is an eighteenth-century Ortrud--the political woman, ready to commit any crime to gratify her ambition. Laodice, however, is far removed from the type of Elsa or any other namby-pamby heroine of early German romanticism; hers is the classic grandeur of Leonora, Donna Anna, and Iphigenie. It is curious that in this opera, perhaps the finest that Scarlatti ever wrote, there should be no love scenes. The most passionate emotional outburst is that of Laodice, when she laments the supposed death of her beloved brother. No love-song of Scarlatti's, beautiful as his love-songs often are, can rival the intense sincerity with which he has painted a sister's affection; is it too fantastic to suppose that we have here a touch of autobiography, and that he remembered Anna Maria in the convent of Sant' Antoniello at Naples--Anna Maria, who, nearly thirty years ago, was singing on the stage of this very theatre? The fourth act, in which this occurs, opens with a solemn march, during which the procession starts that is to carry Eupatore's head to the usurpers. Two muted trumpets and drums lead off, echoed by two trumpets1 and drums from the ship at the back of the stage: --Ex 47. Adagio. _ _ Due Trombe neir Orchestra alia Sordino Timpano delle Trombe Sordine. after which the strings effect modulations to the dominant and the relative minor, ending with a ...
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