Synonyms for artaserse or Related words with artaserse

semiramide              tamerlano              farnace              abbandonata              demofoonte              nerone              arsace              arbace              mitridate              olimpiade              ottone              ipermestra              imeneo              ariodante              montecchi              ossia              artabano              tirsi              ermione              clori              recitativo              ottavia              amanti              lirica              parisina              metastasio              armida              paisiello              radamisto              capuleti              alcina              drammatico              pergolesi              riconosciuta              inganno              eroico              tragico              bajazet              dramma              tiranno              almirena              siroe              ovvero              zandonai              jommelli              cesti              teatrale              seleuco              musicali              amadigi             



Examples of "artaserse"
Mysliviczek - Artaserse - selections (US Premiere)
Nevertheless, the joint work of Galuppi and Metastasio prospered, and was staged in other countries. In Vienna, their "Demetrio" and "Artaserse" were great successes, and "Artaserse" in particular generated a great deal of profit for its investors.
Megabise enters and Artaserse confides his sadness and anger at the recent events to Megabise. Megabise consoles Artaserse and says that killing Dario was necessary as a form of self-defense. Semira, Arbace's sister, enters as Artaserse prepares to leave. Semira asks Artaserse not to leave but he proceeds to do so anyway, but not before declaring his love for Semira. (Aria: '). Semira knows that something is wrong and asks Megabise, who tells her that Serse was murdered in his sleep and Dario is the one responsible. Semira expresses her shock, but Megabise is indifferent, declaring that it does not matter who is on the throne. Megabise is also in love with Semira and declares his love for her, but Semira is already in love with Artaserse and is unable to reciprocate Megabise's feelings. Megabise declares that he will fight to win Semira's love. (Aria: '). Semira expresses her pain at separation from Artaserse due to the recent events. (Aria: ")
(He appears in over 40 other operas set to the same text from Metastasio's libretto "Artaserse")
In the Temple of the Sun Artaserse, surrounded by his nobles, swears to maintain the rights, laws, and customs of his subjects and is about to pledge this by drinking from a sacred cup, unaware that Artabano has poisoned the drink. Before Artaserse can drink from the cup, news arrives that Megabise and his men are at the palace gates. The danger is averted when Arbace kills the traitor, confirming to Artaserse that his friend is innocent. Artaserse then offers the sacred cup to Arbace instead so that he may pledge his innocence.
Act I, scene 5 - Aria of Artaserse, "Non mi dir ch'io sono ingrato"
Act II, scene 1 - Aria of Artaserse, "Rendimi il caro amico"
Act I, scene 10 - Quartet of Mandane, Arbace, Artaserse, and Artabano, "Deh, respirar lasciatemi"
As is typical of Italian operas of that time, Artaserse opens with an Italian overture or "sinfonia".
Artaserse is scored for 2 trumpets, 2 horns, 2 oboes, first and second violins, violas, timpani and basso continuo.
At the venue of Artaserse's coronation, Artabano hands Artaserse the poisoned sacred cup. Artaserse, surrounded by his nobles, swears to maintain the rights, laws, and customs of his subjects and is about to pledge this by drinking from the sacred cup, unaware that Artabano has poisoned the drink. Semira enters the temple, still unhappy about Artaserse's decision to execute Arbace. Mandane arrives and brings news that Megabise and his fellow rebels had reached the palace entrance, but Arbace was alive and had already killed the traitor, thus saving Artaserse. This act confirms Arbace's innocence to Artaserse, and Artaserse gets Arbace to swear his innocence by drinking from the sacred cup. Artabano is now faced with seeing his son die or confessing the truth. He confesses to all that he has poisoned the cup, intending to kill Artaserse and that he had also assassinated Serse. Artabano then draws his sword and is about to kill Artaserse, but Arbace grabs the poisoned sacred cup and threatens to commit suicide by drinking from it if Artabano goes ahead. Artabano throws his sword away and is detained by the guards. Artaserse initially wants to execute Artabano for treason but Arbace pleads for mercy on Artabano's behalf. Artaserse, out of his love for Semira and his gratitude to Arbace, agrees to spare Artabano's life and condemn him to eternal exile instead. With Arbace's innocence proven beyond doubt, and both pairs of lovers reunited, the entire cast (including the dead Megabise) gathers on stage for the final chorus, as they celebrate the reign of a merciful and righteous king. (Chorus: "Giusto re, la Persia adora").
Meanwhile, in the Great Hall of the Royal Council, Artaserse is hesitant about taking the throne as he is afraid that his inexperience will let everyone down. Megabise enters and informs Artaserse that Mandane and Semira wish to speak to him. Megabise then escorts the women in. Semira pleads with Artaserse to have mercy on Arbace, but Mandane insists that vengeance must be served. Artaserse is unsure of what to do as making a decision means having to choose between his sister and his lover. Artabano enters, and Artaserse asks Artabano to console him. Artabano says that Arbace deserves to be punished, but Artaserse is conflicted, and worried about Semira wrongly accusing him of cruelty. Artaserse appoints Artabano to be the judge at Arbace's trial. However, Mandane doubts that Artabano will actually carry out the punishment against his son. Arbace is then escorted in by guards to stand trial. Arbace is horrified to see his father as the judge. Once again, Arbace chooses to remain silent, but continues to maintain his innocence. Artabano thus declares Arbace guilty, to the horror of Artaserse. Arbace is sad that his father would condemn him so in front of his very eyes. (Aria: "Per quel paterno amplesso"). Mandane is horrified to see Artabano condemning his own son to death, and accuses Artabano of being heartless. (Aria: "Va' tra le selve ircane"). Semira is also horrified to see her brother sentenced to death, but Artaserse maintains that he had left Arbace's life in Artabano's hands, and thus was not the one who sentenced Arbace to death. Nevertheless, Semira accuses Artaserse of being a tyrant. (Aria: "Per quell'affetto"). Artaserse and Artabano lament the accusations that Semira and Mandane respectively have made against them. Artabano says that he is the most miserable, and Artaserse says that though Artabano's grief is great, so is his own. (Aria: "Non conosco in tal momento"). After everyone has left, Artabano, now alone, says that he almost lost himself in the feeling of being appointed Arbace's judge, but hopes that Arbace will not think that he saved himself at the cost of his own son. (Aria: "Così stupisce e cade").
"Artaserse" continued to be popular for a while after Vinci's death, but has since faded into obscurity. The first modern revial of "Artaserse" was staged at the Opéra national de Lorraine in Nancy on 2 November 2012, featuring Philippe Jaroussky as Artaserse, Max Emanuel Cenčić as Mandane, Juan Sancho as Artabano, Franco Fagioli as Arbace, Valer Barna-Sabadus as Semira and Yuriy Mynenko as Megabise. In honour of the single-sex casting at the original premiere, the revival was staged with an all-male cast, with countertenors cast in skirt roles to play the female characters in the opera.
In the prison, Arbace continues to lament his cruel fate. (Arioso: "Perché tarda è mai la morte"). Artaserse, who has been doubting the guilt of Arbace, his long-time friend, all this while enters the prison to secretly release Arbace. Arbace is grateful for Artaserse's belief in him, and wishes Artaserse all the best before he leaves. (Aria: "L'onda dal mar divisa"). Artaserse believes that he is doing the right thing by releasing Arbace, and continues to believe in Arbace's innocence. (Aria: "Nuvoletta opposta al sole").
There are over 90 known settings of Metastasio's text. The libretto was originally written for, and first set to music by Leonardo Vinci in 1730 for Rome ("Artaserse"). It was subsequently set by Johann Adolph Hasse in 1730 ("Artaserse") for Venice and in 1760 for Naples, by Gluck in 1741 for Milan, by Chiarini in 1741 for Verona, by Graun in 1743 for Stuttgart, by Terradellas in 1744 for Venice, by Galuppi in 1749 for Vienna, by Johann Christian Bach in 1760 for Turin, by Josef Mysliveček in 1774 for Naples ("Artaserse)", by Marcos Portugal in 1806 for Lisbon and many other times. The text was often altered.
Artaserse, the King's younger son, arrives with his guards. Artabano tells him of his father's death and accuses Artaserse's older brother Dario of the murder, "Who but he at dead of night could penetrate the palace? Who approach the royal bed? Nay, more, his royal ambition..." Artaserse commands Artabano to avenge his father's death by killing Dario. Later in the garden, Artaxerxes expresses his love to Semira, the daughter of Artabano and sister of Arbace.
Artabano is now faced with seeing his son die or confessing the truth. He confesses to all that he has poisoned the cup, intending to kill Artaserse and that he had also assassinated Serse. Artabano is led off in chains. Artaserse, out of his love for Semira and his gratitude to Arbace, condemns their father to eternal exile rather than death. The opera ends with the two pairs of lovers reunited and the jubilation of all.
The following list is not absolutely complete (it misses out, for instance, Pacchiarotti's performances in Palermo, the première of Bertoni’s "Artaserse", etc.), but is indicative of the wide extent of the singer's career.
Lampugnani wrote thirty operas during his lifetime, such as "Semiramide" (1741), "Rossane, Tigrane" (1747), "Artaserse, Siroe" (1755) and "L'amor contadino" (1760). He also composed some non-operatic pieces, e.g., trio sonatas and church music.
He sang at many premieres for the best and most famous musicians of his time, including Niccolò Jommelli ("Manlio", 1746), Baldassare Galuppi ("Artaserse, 1751") and Johann Adolf Hasse ("Demetrio", 1747).