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  • Mayr: L'amor coniugale
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Mayr: L'amor coniugale

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Audio CD, March 25, 2008
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Product Details

  • Orchestra: Württemberg Philharmonic Orchestra
  • Conductor: Christopher Franklin
  • Composer: Simon Mayr
  • Audio CD (March 25, 2008)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Label: Naxos
  • ASIN: B0013JZ4B2
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #428,124 in Music (See Top 100 in Music)

Disc: 1
1. L'amor coniugale, opera: Sinfonia
2. L'amor coniugale, opera: Gira gira non ti stare attortigliar
3. L'amor coniugale, opera: Sono qua
4. L'amor coniugale, opera: Terzetto. Io sono allegro
5. L'amor coniugale, opera: Non so cosa sia
6. L'amor coniugale, opera: Siate pronti miei
7. L'amor coniugale, opera: Ciel! Che lessi!
8. L'amor coniugale, opera: E sempre ti tormenti
9. L'amor coniugale, opera: Aria. L'ono ha un colore
10. L'amor coniugale, opera: Rec., Scena. Tieni quando suonan le quattro
See all 11 tracks on this disc
Disc: 2
1. L'amor coniugale, opera: Scena. Qual notte eterna
2. L'amor coniugale, opera: Aria. Cara immagine adorata
3. L'amor coniugale, opera: Animo... ma... cos'hai paura?
4. L'amor coniugale, opera: Romanza. Una moglie sventurata
5. L'amor coniugale, opera: Terzetto. Ah! Qual voce
6. L'amor coniugale, opera: Nell'orror
7. L'amor coniugale, opera: Quartetto Cantabile. Ah voi
8. L'amor coniugale, opera: Scena ultima. Vendetta
9. L'amor coniugale, opera: Finale. Coniugal celeste amore

Editorial Reviews

Based, like Beethoven' opera Fidelio, on the original French libretto by Jean-Nicolas Bouilly, Mayr' opera L'amor coniugale won considerable success at its first performance in Padua in 1805. The story of the faithful wife seeking the release of her inno

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Most Helpful Customer Reviews

11 of 11 people found the following review helpful By James S. Eisenberg on March 31, 2008
Format: Audio CD
One of the most delightful discoveries of the Bel Canto Revival has been Donizetti's teacher, Giovanni Simone Mayr, a German born composer who lived most of his life in Bergamo, Italy. Without being a revolutionary, he nonetheless advanced the harmonic language of Italian opera, taking it from Classicism to Romanticism. He looks back to Gluck, Haydn and Mozart, but was a major influence on Rossini, Bellini, Donizetti and even the young Verdi.
His telling of the FIDELIO story, which predates the Beethoven work by several months, is straightforward, deeply sincere and musically lovely.
Much smaller scaled than the Beethoven, it has no chorus, but otherwise follows the same plot line very closely, although names are not the same and the action is moved to Poland. Like Beethoven there are very large and similarly structured arias for Zeliska (the Leonore character), Amorveno (The Florestan character) and there is a "gold" aria for Peters. Although Mayr has often been accused of using too much coloratura in his vocal writing, here, that is kept tightly in check with vocal lines of almost Gluckian simplicity.
Mayr is no Beethoven, but he succeeds admirably.
When the timings for the current performance first appeared on line, I assumed that there were cuts, as this is at least fifteen minutes shorter than the private recording of the first modern revival(London 1973). As it turns out, it is simply played much faster. The result emphasizes the buffo elements more than the serious ones. (The piece was described by composer and librettist as a "Farsa Sentimentale")The casting is perhaps appropriately with much lighter voices than in the London revival. There is some fine singing here, but nobody really plumbs the depths of their characters, and one really wants darker voices for Zeliska and Amorveno.
The live performance is very well recorded.
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