5:10
Giovanni Paisiello - Il barbiere di Siviglia - Ouverture (Carella)
PS Do leave a comment on how you would compare the overtures and do leave a rating :)! It ...
published: 17 Aug 2008
Author: LindoroRossini
Giovanni Paisiello - Il barbiere di Siviglia - Ouverture (Carella)
PS Do leave a comment on how you would compare the overtures and do leave a rating :)! It is well-known that Rossini had to work in the shadow of maestro Paisiello's own version of the score which was so well-known and loved that even the idea of a new opera on the same subject was thought of as something impossible. But the success of Rossini's opera managed to overshadow Paisiello's creation, rather unfairly, one should add, as both works are excellent versions of the story, completely equal in their level of perfection. In the framework of my current series of uploads I decided to upload several pieces from the earlier opera, so that you can judge for yourselves the merits of the work. As the pieces are written on the same story, there are several parallels which I am going to busy myself with uploading. If you want to understand Paisiello's "Il barbiere", you should definitely brush up on the original play: the opera follows as closely as possible the structure of the latter. What I find surprising is the fact that Rossini's version is actually as much a new work with several situations completely unknown to the original text: for example, the long act one finale is the librettist's own creation; Paisiello's first act finishes with Rosina's aria, while the whole drunken soldier routine is limited to a terzet between the Count, Rosina and Bartolo. The second obvious difference between the scores is musical. No, it has nothing to do with the quality: Paisiello's version <b>...</b>
15:13
Giovanni Paisiello : Concerto in mi bemolle maggiore per mandolino
Giovanni Paisiello : Concerto in mi bemolle maggiore per mandolino e orchestra 1) Allegro ...
published: 19 Jan 2011
Author: macdonald59
Giovanni Paisiello : Concerto in mi bemolle maggiore per mandolino
Giovanni Paisiello : Concerto in mi bemolle maggiore per mandolino e orchestra 1) Allegro Maestoso 2) Larghetto 3) Allegretto Ugo Orlandi, mandolin I Solsti Veneti , direttore : Claudio Scimone
10:30
Giovanni Paisiello Piano Concerto 4 in g-minor (mov 1/3)
Pietro Spada Chamber Orchestra of Santa Cecilia Giovanni Paisiello (or Paesiello) (May 9, ...
published: 10 Dec 2008
Author: elias12186
Giovanni Paisiello Piano Concerto 4 in g-minor (mov 1/3)
Pietro Spada Chamber Orchestra of Santa Cecilia Giovanni Paisiello (or Paesiello) (May 9, 1740 June 5, 1816), was an Italian composer of the Classical era.
5:08
Giovanni Paisiello - Nina (1789) - Cavatina for Nina - "Il mio ben" (Teresa Berganza)
A while ago, in the description to "Joan Sutherland sings three baroque arias", ...
published: 06 Apr 2009
Author: LindoroRossini
Giovanni Paisiello - Nina (1789) - Cavatina for Nina - "Il mio ben" (Teresa Berganza)
A while ago, in the description to "Joan Sutherland sings three baroque arias", I discussed my feelings towards the Australian diva's early work versus her later recordings, and in some ways, Teresa Berganza presents, for me, a similar case. It is undeniable that Berganza was an extremely talented performer with a wide array of accomplished recordings (including an unusually light but extremely believable Carmen), and, when I first heard her singing Rosina with Prey, Alva and Abbado (recorded in 1970, if I'm not mistaken), the attraction was imminent. But when I managed to obtain the present early 1959 recital not so long ago, I suddenly found myself in a dilemma very much similar to the one that occurred in the case of Joan Sutherland: while Berganza's voice, unlike Sutherland's, retained its' basic color throughout the mezzo's career, both singers started out with brighter voices and a more involved manner than their later selves were famous for. In short, both singers started so well that their later work can seem slightly less distinguished, though, I must note, that this comparison is limited to each of the singers, that is, their respective younger selves are just too good and charming; and, of course, this is just a way I perceive their voices. The present recital, quite imaginatively constructed (Rossini arias are interspersed with those of his predecessors, such as Pergolesi, Paisiello and Cherubini), can be considered almost an equivalent of Sutherland's "The <b>...</b>
4:29
Giovanni Paisiello - L'Osteria Di Marechiaro ouverture
Giovanni Paisiello - L'Osteria Di Marechiaro Direttore Fabio Maestri...
published: 01 Nov 2010
Author: giannibodoar
Giovanni Paisiello - L'Osteria Di Marechiaro ouverture
Giovanni Paisiello - L'Osteria Di Marechiaro Direttore Fabio Maestri
10:38
Giovanni Paisiello - Il barbiere di Siviglia - "Don Basilio! Giusto cielo!" (Krisztina Laki, Denes Gulyas, Istvan Gati, Jozsef Gregor & Sandor Solyom-Nagy)
Another version of the great quintet, taken from a new version of "Il barbiere di Siv...
published: 19 Aug 2008
Author: LindoroRossini
Giovanni Paisiello - Il barbiere di Siviglia - "Don Basilio! Giusto cielo!" (Krisztina Laki, Denes Gulyas, Istvan Gati, Jozsef Gregor & Sandor Solyom-Nagy)
Another version of the great quintet, taken from a new version of "Il barbiere di Siviglia" that happily has made its' way into my collection. Rosina - Krisztina Laki, Il conte d'Almaviva - Denes Gulyas, Figaro - Istvan Gati, Bartolo - Jozsef Gregor, Basilio - Sandor Solyom-Nagy. Enjoy :)!
6:50
Giovanni Paisiello -Piano Concerto No.2 in F major 1.Allegro giusto
this music is just....... great...
published: 14 Nov 2009
Author: missglory1
Giovanni Paisiello -Piano Concerto No.2 in F major 1.Allegro giusto
this music is just....... great
4:34
Barry Lyndon Original Soundtrack; Il Barbiere Di Siviglia (Giovanni Paisiello)
Film adaption of The Cavatina from Giovanni Paisiello's "Il Barbiere Di Siviglia&...
published: 25 Nov 2009
Author: gushmikae
Barry Lyndon Original Soundtrack; Il Barbiere Di Siviglia (Giovanni Paisiello)
Film adaption of The Cavatina from Giovanni Paisiello's "Il Barbiere Di Siviglia" ("The Barber of Seville"), from Stanley Kubrick's "Barry Lyndon".
4:22
Giovanni Paisiello - Il barbiere di Siviglia - "Saper bramante" (Antonino Siragusa)
PS Do leave a comment on how you would compare the pieces and do leave a rating :)! Paisie...
published: 17 Aug 2008
Author: LindoroRossini
Giovanni Paisiello - Il barbiere di Siviglia - "Saper bramante" (Antonino Siragusa)
PS Do leave a comment on how you would compare the pieces and do leave a rating :)! Paisiello's version of the Count's serenade to Rosina, as he tells her his name, is certainly one of the most attractive pieces for the score. Similar to Rossini's version, it is set to several strophes that appear on the same musical background. Here the similarities end. While Rossini's "Se il mio nome saper bramante" is passionate, Paisiello's is elegant and gentle; Rossini uses a simple guitar set against the tenor's voice, Paisiello's version features a solo mandolin in combination with clarinets and strings, creating a most striking musical background for the Count's serenade. Antonino Siragusa, another well-known Rossini singer, breathes life into this piece and makes it into a true love call. Enjoy :)!
8:56
Giovanni Paisiello - Il barbiere di Siviglia - "Gia riede primavera" (Anna Maria dell'Oste)
PS Your comments on comparing the scenes would be appreciated :). Paisiello's version ...
published: 18 Aug 2008
Author: LindoroRossini
Giovanni Paisiello - Il barbiere di Siviglia - "Gia riede primavera" (Anna Maria dell'Oste)
PS Your comments on comparing the scenes would be appreciated :). Paisiello's version is closer to what Beaumarchais must have had in mind when he wrote the play. The theme is again a bit impersonal, though it helps to underline the comedy of the piece: spring, flowers, pastoral scene and sheepherders, shepherdesses and lost love. The piece is, unusually, set to an ABA form with the second A section being an incomplete repeat of the original statement. The A section detailing spring's effects on the hearts of young lovers is elegantly set to an accompaniment of strings, clarinets and bassoons is a perfect invocation of the rebirth of nature. The music is exquisite, but at the same time (especially in the coloratura section which ends the section) one can point out just how sugary it sounds and what an obvious parody of musical lessons it is. Strangely enough, the central lament is actually very moving (though do listen to the overdramatic bass line) as the singer relates the loss of Lindoro, her lover. While in Rossini's version there are several opportunities for the waking of Bartolo, Paisiello uses only one in the exact same place where the author intended it, before the repeat of the A section: the music follows the singer slowing down the flow of music, as Almaviva takes Rosina's hand into his own. All in all, a most elegant lampooning of the classical melodramatics of the epoque's music. Anna Maria dell'Oste sings the piece and captures both its' melodramatics and <b>...</b>
5:50
Cavatina da "il Barbiere di Siviglia" - Giovanni Paisiello 1782
Giovanni Cataldo Paisiello, noto semplicemente come Giovanni, a volte italianizzato in Pae...
published: 09 Nov 2011
Author: DecorCarmeli89
Cavatina da "il Barbiere di Siviglia" - Giovanni Paisiello 1782
Giovanni Cataldo Paisiello, noto semplicemente come Giovanni, a volte italianizzato in Paesiello (Taranto, 9 maggio 1740 -- Napoli, 5 giugno 1816), è stato un compositore napoletano; fu uno dei più importanti e influenti compositori d'opera del Classicismo.
4:46
GIOVANNI PAISIELLO - Cavatina from 'Il Barbiere di Siviglia''
Cavatina 'saper bramante' from 'Il Barbiere di Siviglia/ The Barber of Seville...
published: 08 Sep 2009
Author: miocanzoni
GIOVANNI PAISIELLO - Cavatina from 'Il Barbiere di Siviglia''
Cavatina 'saper bramante' from 'Il Barbiere di Siviglia/ The Barber of Seville ' by Giovanni Paisiello (1740 -1816). Music used in Stanley Kubrick's 1975 film 'Barry Lyndon'. All photographs from Jordan and Syria by Roem Ahmad, Switzerland, copyright 'miocanzoni'
10:49
Giovanni Paisiello Preludio and Rondo,Sinfonia from Alcide al Bivio
Olivier Baumont,Harpsichord Shudi & Broadwood 1770 with Myriam Gevers violin...
published: 02 Oct 2010
Author: TheGravicembalo2
Giovanni Paisiello Preludio and Rondo,Sinfonia from Alcide al Bivio
Olivier Baumont,Harpsichord Shudi & Broadwood 1770 with Myriam Gevers violin
6:00
Giovanni Paisiello Piano Concerto 4 in g-minor (mov 2/3)
Pietro Spada Chamber Orchestra of Santa Cecilia Giovanni Paisiello (or Paesiello) (May 9, ...
published: 10 Dec 2008
Author: elias12186
Giovanni Paisiello Piano Concerto 4 in g-minor (mov 2/3)
Pietro Spada Chamber Orchestra of Santa Cecilia Giovanni Paisiello (or Paesiello) (May 9, 1740 June 5, 1816), was an Italian composer of the Classical era.
Youtube results:
9:15
Giovanni Paisiello Piano Concerto 4 in g-minor (mov 3/3)
Pietro Spada Chamber Orchestra of Santa Cecilia Giovanni Paisiello (or Paesiello) (May 9, ...
published: 10 Dec 2008
Author: elias12186
Giovanni Paisiello Piano Concerto 4 in g-minor (mov 3/3)
Pietro Spada Chamber Orchestra of Santa Cecilia Giovanni Paisiello (or Paesiello) (May 9, 1740 June 5, 1816), was an Italian composer of the Classical era.
3:08
Giovanni Paisiello - Il barbiere di Siviglia - "Veramente ho torto, e vero" (Luciano di Pasquale)
PS Do leave a comment on how you would compare the pieces and do leave a rating :)! One of...
published: 18 Aug 2008
Author: LindoroRossini
Giovanni Paisiello - Il barbiere di Siviglia - "Veramente ho torto, e vero" (Luciano di Pasquale)
PS Do leave a comment on how you would compare the pieces and do leave a rating :)! One of the pieces where Rossini seems to me to have succeeded a bit more than Paisiello is Don Bartolo's aria. While Rossini's creation is a most complex and spectacular example of a virtuoso piece for buffo, Paisiello's aria is a bit more straightforward, completely dedicated to Bartolo's anger at Rosina's lies and follows a much simpler structure; it is a multi-sectioned piece but all the sections share a basically similar musical design that makes for a most unified piece but not as exciting as Rossini's creation. Luciano di Pasquale is a most appealing Bartolo and his singing in this aria is extremly secure. Enjoy :)!
9:59
Giovanni Paisiello - Il barbiere di Siviglia - "Don Basilio! Giusto cielo!" (Antonino Siragusa, Anna Maria dell'Oste, Luciano di Pasquale, Pietro Spagnoli & Donato di Gioia)
PS Do leave a comment on how you would compare the pieces :). Rossini's and Paisiello&...
published: 19 Aug 2008
Author: LindoroRossini
Giovanni Paisiello - Il barbiere di Siviglia - "Don Basilio! Giusto cielo!" (Antonino Siragusa, Anna Maria dell'Oste, Luciano di Pasquale, Pietro Spagnoli & Donato di Gioia)
PS Do leave a comment on how you would compare the pieces :). Rossini's and Paisiello's treatments of the brilliant Act Two quintet couldn't be anymore delightful than they already are, but they also couldn't be any more different. Rossini's version develops completely in accordance with Paisiello's earlier version, but it has to be said that Paisiello's version is even more elaborate than his future rival's. Rossini himself wrote that he preferred the elegance and complexity of Paisiello's version. The complete banishing of Basilio is set to basically the same musical background which is changed according to the situation. This accompaniment is contrasted with several "joke sections": first, the rising (through the lower to the higher voices) of the phrases ending with "curiale" (meaning, if I'm right, "bureaucratic" or, in this setting with the whole phrase, "what's with all these pleasantries?") and, then, in the place of "Buona sera", a brilliant succession of "andante a letto" echoed by all characters, even Basilio himself; finally, a most brutal "buona sera", as all try to push Basilio out of the room. The scene then continues just as in Rossini's version with an interesting alarm for Figaro which breaks up Almaviva's private discussion with Rosina. The subsequent presto section, just after Bartolo has solved the "Don Alonso" puzzle, is unusually inverted by the fact that it is the trio that attacks Bartolo, rather than the other way around, while the latter turns <b>...</b>
3:38
Giovanni Paisiello - Il barbiere di Siviglia - "La calunnia, mio signore" (Donato di Gioia)
PS Do leave a comment on how you would compare the pieces and do leave a rating :)! Rossin...
published: 17 Aug 2008
Author: LindoroRossini
Giovanni Paisiello - Il barbiere di Siviglia - "La calunnia, mio signore" (Donato di Gioia)
PS Do leave a comment on how you would compare the pieces and do leave a rating :)! Rossini seems to have known well Paisiello's version of the vile Basilio's big calumny aria, as the earlier version features the same crescendo effect several times. Actually, while Rossini's aria is given almost completely to the crescendo effect, Paisiello prefers to create a more all-around portrait of the music teacher, this is especially apparent in the almost unaccompanied all-knowing phrase "and he will never get out of the lie" at 1:46. A most interesting and excellent aria. Donato di Gioia milks his only solo opportunity for all it is and creates a most appealing Basilio. Enjoy :)!
