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  bruno praticò - baritone
bruno praticò - baritone - w.a. mozart - la finta semplice - vienna bruno praticò - baritone - w.a. mozart - la finta semplice - vienna bruno praticò - baritone - w.a. mozart - la finta semplice - vienna
  bruno praticò: cavatina from matilde di ...
  gioachino rossini - la cambiale di matri...
the first vocal piece, the introduction, is represented by the piece from rossini's first opera, the first vocal piece, the introduction, is represented by the piece from rossini's first opera, the first vocal piece, the introduction, is represented by the piece from rossini's first opera,
  gioachino rossini - la cambiale di matri...
one of the obligatory part of any comic opera are the buffo basses who are usually the real stars of the evening, leaving behind even the sentimental outpourings of the love couples. most operas include one of the most important staples in the buffo repertoire: the duet for two basses as both babble their way through numerous breakneck patter sections. rossini's first one-acters are continuations of this tradition as the small duet from one of the obligatory part of any comic opera are the buffo basses who are usually the real stars of the evening, leaving behind even the sentimental outpourings of the love couples. most operas include one of the most important staples in the buffo repertoire: the duet for two basses as both babble their way through numerous breakneck patter sections. rossini's first one-acters are continuations of this tradition as the small duet from one of the obligatory part of any comic opera are the buffo basses who are usually the real stars of the evening, leaving behind even the sentimental outpourings of the love couples. most operas include one of the most important staples in the buffo repertoire: the duet for two basses as both babble their way through numerous breakneck patter sections. rossini's first one-acters are continuations of this tradition as the small duet from
  bruno praticò:aria don isidoro atto ii
g.rossini matilde di shabran don isidoro: bruno praticò conductor yves abel director pier'alli rossini opera festival, pesaro 1996 http://operafree.forumfree.net g.rossini matilde di shabran don isidoro: bruno praticò conductor yves abel director pier'alli rossini opera festival, pesaro 1996 http://operafree.forumfree.net g.rossini matilde di shabran don isidoro: bruno praticò conductor yves abel director pier'alli rossini opera festival, pesaro 1996 http://operafree.forumfree.net
  bruno praticò - baritone
extract from recital - rossini opera festival - auditorium pedrotti. extract from recital - rossini opera festival - auditorium pedrotti. extract from recital - rossini opera festival - auditorium pedrotti.
  bruno praticò - baritone
extract from recital - rossini opera festival - auditorium pedrolli extract from recital - rossini opera festival - auditorium pedrolli extract from recital - rossini opera festival - auditorium pedrolli
  gioachino rossini - la cenerentola - "si...
though la cenerentola is truly an opera that calls for a great level of ensemble work (featuring six concentrate pieces), thus there are no truly dominating roles (as, for example, is the case of semiramide and arsace). except, perhaps, one: the evil father, don magnifico. don magnifico makes an unusual case of a villain sung by a buffo bass, instead of the usual baritone or bass profondo, comparable, in this respect, to il podesta from rossinis la gazza ladra or the marquis from donizettis linda di chamounix; another link can be made to the duke from rigoletto, sung by a light tenor, which certainly is unusual in ligt of the characters utter negativity. these choices are, at first sight, peculiar, to say the least, but i do strongly believe that they help strongly emphasize the number of contradictions that follow the people in question. its easy to hate a heavy bass profondo singing angry music and showing himself as a complete bastard (especially comparing to the young, idealistic lovers); but all the noted individuals cannot truly be called evil; they are, and this is evident, paragons of immorality but, in all these cases, their deeds could be attributed to their egocentrism, not their inner evilness. don magnifico is a scheming, dastardly man but he does seem painfully human in his desire to rise above his rank and get his hands on the throne of ramiro; this does not exclude or contradict, though, his rather sunny personality; all this only serves to show us the contradictions that make for a complete human individual, without any moralizing or one-sidedness. truth be told, only angelina and, to a certain extent, alidoro, are painted with unending sympathy: even ramiro, with his constant haste to find angelina, and dandini, who shares magnificos pomposity, are proof of this; though these characteristics helps the librettist and the composer to make them into real people. magnifico has three full arias, making him, if we count his other appearances, the person who gets the most presence during the opera. moreover, all of these pieces are excellent and innovative, sometimes completely ignoring the classical structure. i decided to go for his third aria, as it is not as well-known as, for example, magnificos cavatina, but very much worthwhile. basically, its a hymn of the character for his own future greatness, after he becomes the father of a queen which links it directly to magnificos first aria. the piece itself is built around two imagined scenes as courtiers and then ladies (complete with vocal impressions) appear before the future head of state, the baron himself. these are connected together with a delightfully boastful little march. we then move on to one of rossini's most furious patter sections, demanding the bass to chuck out word after word a la don bartolo, though here we have a sixteen second long patter line, with only one breath in between, as magnifico imagines all the wonderful things he will be brought, starting with cookies and ending with coffee; though by the coda he is already nauseated by his imagination and begins to chase off his fantasies. here bruno pratico makes for a most pompous don magnifico. hope you'll enjoy :)! though la cenerentola is truly an opera that calls for a great level of ensemble work (featuring six concentrate pieces), thus there are no truly dominating roles (as, for example, is the case of semiramide and arsace). except, perhaps, one: the evil father, don magnifico. don magnifico makes an unusual case of a villain sung by a buffo bass, instead of the usual baritone or bass profondo, comparable, in this respect, to il podesta from rossinis la gazza ladra or the marquis from donizettis linda di chamounix; another link can be made to the duke from rigoletto, sung by a light tenor, which certainly is unusual in ligt of the characters utter negativity. these choices are, at first sight, peculiar, to say the least, but i do strongly believe that they help strongly emphasize the number of contradictions that follow the people in question. its easy to hate a heavy bass profondo singing angry music and showing himself as a complete bastard (especially comparing to the young, idealistic lovers); but all the noted individuals cannot truly be called evil; they are, and this is evident, paragons of immorality but, in all these cases, their deeds could be attributed to their egocentrism, not their inner evilness. don magnifico is a scheming, dastardly man but he does seem painfully human in his desire to rise above his rank and get his hands on the throne of ramiro; this does not exclude or contradict, though, his rather sunny personality; all this only serves to show us the contradictions that make for a complete human individual, without any moralizing or one-sidedness. truth be told, only angelina and, to a certain extent, alidoro, are painted with unending sympathy: even ramiro, with his constant haste to find angelina, and dandini, who shares magnificos pomposity, are proof of this; though these characteristics helps the librettist and the composer to make them into real people. magnifico has three full arias, making him, if we count his other appearances, the person who gets the most presence during the opera. moreover, all of these pieces are excellent and innovative, sometimes completely ignoring the classical structure. i decided to go for his third aria, as it is not as well-known as, for example, magnificos cavatina, but very much worthwhile. basically, its a hymn of the character for his own future greatness, after he becomes the father of a queen which links it directly to magnificos first aria. the piece itself is built around two imagined scenes as courtiers and then ladies (complete with vocal impressions) appear before the future head of state, the baron himself. these are connected together with a delightfully boastful little march. we then move on to one of rossini's most furious patter sections, demanding the bass to chuck out word after word a la don bartolo, though here we have a sixteen second long patter line, with only one breath in between, as magnifico imagines all the wonderful things he will be brought, starting with cookies and ending with coffee; though by the coda he is already nauseated by his imagination and begins to chase off his fantasies. here bruno pratico makes for a most pompous don magnifico. hope you'll enjoy :)! though la cenerentola is truly an opera that calls for a great level of ensemble work (featuring six concentrate pieces), thus there are no truly dominating roles (as, for example, is the case of semiramide and arsace). except, perhaps, one: the evil father, don magnifico. don magnifico makes an unusual case of a villain sung by a buffo bass, instead of the usual baritone or bass profondo, comparable, in this respect, to il podesta from rossinis la gazza ladra or the marquis from donizettis linda di chamounix; another link can be made to the duke from rigoletto, sung by a light tenor, which certainly is unusual in ligt of the characters utter negativity. these choices are, at first sight, peculiar, to say the least, but i do strongly believe that they help strongly emphasize the number of contradictions that follow the people in question. its easy to hate a heavy bass profondo singing angry music and showing himself as a complete bastard (especially comparing to the young, idealistic lovers); but all the noted individuals cannot truly be called evil; they are, and this is evident, paragons of immorality but, in all these cases, their deeds could be attributed to their egocentrism, not their inner evilness. don magnifico is a scheming, dastardly man but he does seem painfully human in his desire to rise above his rank and get his hands on the throne of ramiro; this does not exclude or contradict, though, his rather sunny personality; all this only serves to show us the contradictions that make for a complete human individual, without any moralizing or one-sidedness. truth be told, only angelina and, to a certain extent, alidoro, are painted with unending sympathy: even ramiro, with his constant haste to find angelina, and dandini, who shares magnificos pomposity, are proof of this; though these characteristics helps the librettist and the composer to make them into real people. magnifico has three full arias, making him, if we count his other appearances, the person who gets the most presence during the opera. moreover, all of these pieces are excellent and innovative, sometimes completely ignoring the classical structure. i decided to go for his third aria, as it is not as well-known as, for example, magnificos cavatina, but very much worthwhile. basically, its a hymn of the character for his own future greatness, after he becomes the father of a queen which links it directly to magnificos first aria. the piece itself is built around two imagined scenes as courtiers and then ladies (complete with vocal impressions) appear before the future head of state, the baron himself. these are connected together with a delightfully boastful little march. we then move on to one of rossini's most furious patter sections, demanding the bass to chuck out word after word a la don bartolo, though here we have a sixteen second long patter line, with only one breath in between, as magnifico imagines all the wonderful things he will be brought, starting with cookies and ending with coffee; though by the coda he is already nauseated by his imagination and begins to chase off his fantasies. here bruno pratico makes for a most pompous don magnifico. hope you'll enjoy :)!
  siete turchi, non vi credo_devia pertusi...
quartetto from rossini's il turco in italia selim: michele pertusi donna fiorilla: mariella devia don geronio: bruno praticò don narciso: rockwell blake conductor evelino pidò director antonio calenda bologna, teatro comunale, december 1994 http://operafree.forumfree.net quartetto from rossini's il turco in italia selim: michele pertusi donna fiorilla: mariella devia don geronio: bruno praticò don narciso: rockwell blake conductor evelino pidò director antonio calenda bologna, teatro comunale, december 1994 http://operafree.forumfree.net quartetto from rossini's il turco in italia selim: michele pertusi donna fiorilla: mariella devia don geronio: bruno praticò don narciso: rockwell blake conductor evelino pidò director antonio calenda bologna, teatro comunale, december 1994 http://operafree.forumfree.net
  bruno praticò - baritone
extract from recital - rossini opera festival - auditorium pedrotti extract from recital - rossini opera festival - auditorium pedrotti extract from recital - rossini opera festival - auditorium pedrotti
  terzetto atto primo, scena prima, blake,...
terzetto from rossini's il turco in italia il poeta prosdocimo: roberto de candia don geronio: bruno praticò don narciso: rockwell blake conductor evelino pidò director antonio calenda bologna, teatro comunale, december 1994 terzetto from rossini's il turco in italia il poeta prosdocimo: roberto de candia don geronio: bruno praticò don narciso: rockwell blake conductor evelino pidò director antonio calenda bologna, teatro comunale, december 1994 terzetto from rossini's il turco in italia il poeta prosdocimo: roberto de candia don geronio: bruno praticò don narciso: rockwell blake conductor evelino pidò director antonio calenda bologna, teatro comunale, december 1994
  devia-praticò: per piacere alla signora
rossini, il turco in italia. duet per piacere alla signora donna fiorilla mariella devia don geronio bruno praticò conductor evelino pidò director antonio calenda bologna, teatro comunale, december 1994 http://operafree.forumfree.net rossini, il turco in italia. duet per piacere alla signora donna fiorilla mariella devia don geronio bruno praticò conductor evelino pidò director antonio calenda bologna, teatro comunale, december 1994 http://operafree.forumfree.net rossini, il turco in italia. duet per piacere alla signora donna fiorilla mariella devia don geronio bruno praticò conductor evelino pidò director antonio calenda bologna, teatro comunale, december 1994 http://operafree.forumfree.net
  matilde di shabran concertato atto ii 2/2
g.rossini matilde di shabran sestetto: g.rossini matilde di shabran sestetto: g.rossini matilde di shabran sestetto:
  torvaldo e dorliska, rof 2006 1/2
extraits, rehearsal, interview torvaldo francesco meli; dorliska darina takova; duca d'ordow michele pertusi; giorgio bruno praticò; carlotta jeannette fischer; ormondo simone alberghini. conductor victor pablo perez; director mario martone. orchestra haydn di bolzano e trento pesaro, rossini opera festival 2006 http://operafree.forumfree.net extraits, rehearsal, interview torvaldo francesco meli; dorliska darina takova; duca d'ordow michele pertusi; giorgio bruno praticò; carlotta jeannette fischer; ormondo simone alberghini. conductor victor pablo perez; director mario martone. orchestra haydn di bolzano e trento pesaro, rossini opera festival 2006 http://operafree.forumfree.net extraits, rehearsal, interview torvaldo francesco meli; dorliska darina takova; duca d'ordow michele pertusi; giorgio bruno praticò; carlotta jeannette fischer; ormondo simone alberghini. conductor victor pablo perez; director mario martone. orchestra haydn di bolzano e trento pesaro, rossini opera festival 2006 http://operafree.forumfree.net
  torvaldo e dorliska, rof 2006 2/2
extraits, rehearsal, interview torvaldo francesco meli; dorliska darina takova; duca d'ordow michele pertusi; giorgio bruno praticò; carlotta jeannette fischer; ormondo simone alberghini. conductor victor pablo perez; director mario martone. orchestra haydn di bolzano e trento pesaro, rossini opera festival 2006 http://operafree.forumfree.net extraits, rehearsal, interview torvaldo francesco meli; dorliska darina takova; duca d'ordow michele pertusi; giorgio bruno praticò; carlotta jeannette fischer; ormondo simone alberghini. conductor victor pablo perez; director mario martone. orchestra haydn di bolzano e trento pesaro, rossini opera festival 2006 http://operafree.forumfree.net extraits, rehearsal, interview torvaldo francesco meli; dorliska darina takova; duca d'ordow michele pertusi; giorgio bruno praticò; carlotta jeannette fischer; ormondo simone alberghini. conductor victor pablo perez; director mario martone. orchestra haydn di bolzano e trento pesaro, rossini opera festival 2006 http://operafree.forumfree.net
  d'un bell'uso di turchia: pertusi and praticò
duet d'un bell'uso di turchia. il turco in italia by gioacchino rossini. selim michele pertusi, don geronio bruno praticò, conductor evelino pidò director antonio calenda bologna teatro comunale, december 1994 http://operafree.forumfree.net duet d'un bell'uso di turchia. il turco in italia by gioacchino rossini. selim michele pertusi, don geronio bruno praticò, conductor evelino pidò director antonio calenda bologna teatro comunale, december 1994 http://operafree.forumfree.net duet d'un bell'uso di turchia. il turco in italia by gioacchino rossini. selim michele pertusi, don geronio bruno praticò, conductor evelino pidò director antonio calenda bologna teatro comunale, december 1994 http://operafree.forumfree.net
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