Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Giunse alfin il momento
Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Deh, vieni, non tardar
La clemenza di Tito, opera in 3 acts, Wq. 16: Se mai senti spirarti sul volto
La clemenza di Tito, opera, K. 621: Ecco il punto, o Vitellia
La clemenza di Tito, opera, K. 621: Non più di fiori
Le nozze di Figaro (The Marriage of Figaro), opera, K. 492: Voi che sapete
Il barbiere di Siviglia (The Barber of Seville), opera: Contro un cor
Faust, opera, CG 4: Faites-lui mes aveux
La Damnation de Faust, for mezzo-soprano, tenor, baritone, bass, chorus and orchestra ("légende dramatique"), H. 111 (Op. 24): D'amour l'ardente flamme
Roméo et Juliette, for alto, tenor, bass, chorus & orchestra ("symphonie dramatique"), H.79 (Op. 17): Premiers transports que nul n'oublie
I Capuleti e i Montecchi, opera: Ascolta! Se Romeo t'uccise un figlio...La tremenda ultrice spada
Cendrillon, opera in 4 acts: Allez, laissez-moi seul...Coeur sans amour, printemps sans roses
La cenerentola (Cinderella), opera: Nacqui all'affanno
Ariane, opera in 5 acts: Ô frêle corps...Chère Cypris
Ariadne auf Naxos, opera, Op. 60-II (TrV 228a) (revised version): Sein wir wieder gut!
The frequency with which mezzo sopranos are called on to play male roles lies behind the ingenious premise for Diva Divo. Joyce DiDonato has selected pairs of operas that basically have the same plot or source, and sings an aria from a role written for a male character from one, and for a female character from the other. Sometimes both of the operas are well known, as in the case of Faust and La Damnation de Faust. Generally, though, this involves pairing a familiar opera with one less familiar (La Clemenza di Tito by ...
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The frequency with which mezzo sopranos are called on to play male roles lies behind the ingenious premise for Diva Divo. Joyce DiDonato has selected pairs of operas that basically have the same plot or source, and sings an aria from a role written for a male character from one, and for a female character from the other. Sometimes both of the operas are well known, as in the case of Faust and La Damnation de Faust. Generally, though, this involves pairing a familiar opera with one less familiar (La Clemenza di Tito by Mozart and Gluck, two of the nearly 40 settings of Metastasio's libretto), with the prolific Massenet providing three of the dark horses: Chérubin for Le nozze di Figaro, Cendrillon for La cenerentola, and Ariadne for Ariadne auf Naxos. Because of the composers' differing styles and sensibilities, it would not be immediately evident to someone unfamiliar with the music to detect which of the paired arias was for a man and which was for a woman. Mozart's Vitellia, in fact, sounds...
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