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001) Martha, 1969
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016) Recital Salzburg, 1961
017) Swedish duets 1983
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018) Recital Moscow 1, 1980
020) Les pecheurs, 1960
021) Faust, Paris 1975
022) Liederabend Hannover 1964
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024) Fra Diavolo, 1984
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089) La damnation, Rome 1969
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107) Carmen, La Scala 1974
108) Orfeo ed E., Edinburgh 1067
109) Sonnambula, Met 1972
110) Gedda&Slovenski oktet
111) Onegin, Met 1977
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120) Faust 1958
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123) Candide 1989
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125) Elisir, Met 1965
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154) Recital with Moore video
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159) Manon, Met 1959
160) Recital Amsterdam 1982
161) Beethoven's songs 1969
161a) Beethoven's songs
162) Arias and songs
163) Ciboulette 1982
164) Zigeunerbaron, Met 1959
165) Interview Da capo 1989
166) Matthaus Passion 1961
167) Pecheurs Carnegie Hall 1974
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169) Persephone 1955
170) Lelio 1974
171) Lehar and Kalman
172) Oberon Carnegie Hall 1978
173) Met 25. anniversary 1982
174) Pushkin's poems 1987
175) Wiener Blut 1954
176) La Boheme Munich 1975
177) Alceste, Met 1961
178) Faust, Met 1969
179) Zauberflote, Met 1970
180) Rosenkavalier Met 1969
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187) Traviata, Met 1964
188) Man who disappeared 1984
189) Forza del destino 1964
190) Postillon 1965
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197) P. m. solenelle 1984
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204) Fra Diavolo, SF 1968
205) La clemenza di Tito 1955
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208) Champagner operette
209) Budapest concert 1984
210) Liszt's songs 1986
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214) Cosi fan tutte Aix 1955
215) Recital 1999
216) Idomeneo, Rome 1971
217) Romeo et Juliette 1964
218) La damnation Montreux 1959
219) Abu Hassan 1973
220) Romeo&Juliette Met 1968
221) Carmen, Vienna 1954
222) Tosca, Stockholm 1975
223) Ein Walzertraum 1970
224) Puritani Naples 1971
225) Faust Met 1958
226) Puritani Carnegie Hall 63
227) Mozart Requiem 1971
228) Faust Met 72
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230) Recit. Salzburg 1959
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233) Rigoletto Met 1967
234) Onegin Boston 1976
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245) Onegin 1988
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273) Entführung Met 1979
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286) Orphée Gluck live 75
287) L'enfance du Christ
288) Zauberflöte Met 1958
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290) Cosi fan tutte 1959
291) Zauberflote Scala55
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294) Sjögren songs
295) Verdi Requiem 1979
296) Entführung 1968
Music Links - operas and recitals of Nicolai Gedda
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NICOLAI GEDDA IN OPERAS AND RECITALS
Monday, 8 June 2009
24) Daniel Francois Espritt Aubert Fra Diavolo - recording
Mood:  mischievious
Topic: 024) Fra Diavolo, 1984



Fra Diavolo ....... Nicolai Gedda
Lord Cockburn ..... Rémi Corazza
Lady Pamela ....... Jane Berbié
Lorenzo ........... Thierry Dran
Mathéo ............ Jules Bastin
Zerline ........... Mady Mesplé
Giacomo ........... Michel Trempont
Beppo ............. Michel Hamel
Francesco ......... Michel Marimpouy
Un Soldat ......... Régis Ducrocq

Ensemble Choral Jean Leforge
Orchestre Philharmonique de Monte-Carlo
Marc Soustrot, conductor

Recorded: Monte-Carlo, Salle Garnier, 20-26 Sept 1983 & 13 June 1984


SYNOPSIS:
--------

     The original of the story of "Fra Diavolo“is to he found in Lesueur’s opera, “La Caverne,” afterwards arranged as a spectacular piece and produced in Paris in 1808 by Cuvellier and Franconi, and again in Vienna in 1822 as a spectacle-pantomime, under the title of "The Robber of the Abruzzi.“In Scribe’s adaptation the bandit, Fra Diavolo, encounters an English nobleman and his pretty and susceptible wife, Lord and Lady Allcash, at the inn of Terracina, kept by Matteo, whose daughter Zerlina is loved by Lorenzo, a young soldier, on the eve of starting to capture Fra Diavolo when the action of the opera begins.

      In the first scene the English couple enter in great alarm, having narrowly escaped the robbery of all their valuables by Fra Diavolo’s band. The bandit himself, who has followed them on their journey in the disguise of a marquis, and has been particularly attentive to the lady, enters the inn
as Lord Allcash has been reproving his ‘wife for her familiarity with a stranger. A quarrel ensues in a duet of a very humorous character (“I don’t. object”). Upon the entrance of Fra Diavolo, a quintet (“Oh, Rapture unbounded!”) occurs, which is one of the most effective and admirably harmonized ensembles Auber has ever written. Fra Diavolo learns the trick by which they saved the most of their valuables, and, enraged at the failure of his band, lays his own plan to secure them. In an interview with Zerlina, she, mistaking him for the Marquis, tells him the story of Fra Diavolo in a romanza (“On yonder Rock reclining”), which is so fresh, vigorous, and full of color, that it has become a favorite the world over. To further his schemes, Fra Diavolo makes love to Lady Allcash and sings a graceful barcarole to her (“The Gondolier, fond Passion’s Slave”), accompanying himself on the mandolin. Lord Allcash interrupts the song, and the trio, “Bravi, Bravi,” occurs, which leads up to the finale of the act. Fra Diavolo eludes the carbineers, who have returned, and they resume their search for him, leaving him unmolested to perfect his plans for the robbery.

     The second act introduces Zerlina in her chamber about to retire. She first lights Lord and Lady Allcash to their room, a running conversation occurring between them in a trio (“Let us, I pray, good wife, to rest”), ‘which is one of the best numbers in the work. Before Zerlina returns to her chamber, Fra Diavolo and his companions, Beppo and Giacomo, conceal themselves in a closet, and, somewhat in violation of dramatic consistency, Fra Diavolo sings the beautiful serenade, “Young Agnes,” which had been agreed upon as a signal to his comrades that the coast was clear. Zerlina enters and after a pretty cavatina (“ ‘T is To-morrow”) and a prayer, charming for its simplicity (“Oh, Holy Virgin”), retires to rest. The robbers, in attempting to cross her room, partially arouse her. One of them rushes to the bed to stab her, but falls back awestricken as she murmurs her prayer and sinks to rest again. The trio which marks this scene, sung pianissimo, is quaint and simple and yet very dramatic. The noise of the carbineers returning outside interrupts the plan of the robbers. They conceal themselves in the closet again. Zerlina rises and dresses herself. Lord and Lady Allcash rush in en déshabillé to find out the cause of the uproar. Lorenzo enters to greet Zerlina, when a sudden noise in the closet disturbs the company. Fra Diavolo, knowing he will be detected, boldly steps out into the room and declares that he is there to keep an appointment with Zerlina. Lorenzo challenges him, and he promises to give him satisfaction in the morning, and coolly effects his escape. One of his comrades, however, is captured, and to secure his own liberty agrees to betray his chief.

     The third act introduces Fra Diavolo once more among his native mountains, and there is the real breath and vigor of the mountain air in his opening song (“Proudly and wide my Standard flies”), and rollicking freedom in the rondeau which follows it (“Then since Life glides so fast away”). He exults in his liberty, and gleefully looks forward to a meeting with Lord and Lady Allcash, which he anticipates will redound to his personal profit. His exultation is interrupted by the entrance of the villagers arrayed in festival attire in honor of the approaching wedding ceremonies, singing a bright pastoral chorus (“Oh, Holy Virgin! bright and fair”). The finale of the act is occupied with the development of the scheme between Lorenzo, Beppo, and Giacomo, to ensnare Fra Diavolo and compass his death; and with the final tragedy, in which Fra Diavolo meets his doom at the hands of the carbineers, but not before he has declared Zerlina’s innocence. This finale is strong and very dramatic, and yet at the same time simple, natural, and unstudied. The opera itself has always been a favorite, not alone for its naturalness and quiet grace, but for the bright and even boisterous humor, which is displayed by the typical English tourist, who was for the first time introduced in opera by Scribe. The text is full of spirit and gayety, and these qualities are admirably reflected in the sparkling music of Auber. How well it was adapted for musical treatment is shown by the fact that “Fra Diavolo” made Auber’s reputation at the Opera Comique.

 

LINK: DOWNLOAD

 


Posted by nf/amenemhat at 6:25 PM MEST
Updated: Saturday, 1 October 2011 10:13 PM MEST
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