Read e-book Recitative: Morte, morte fatal from Lucio Silla, Act 1 (Full Score)

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Please enable Javascript in your browser's settings, and reload this page. Please contact your security software's customer service or if your computer has a service warranty your computer's manufacturer, and ask how to configure it to allow Javascript. Voice Act 1 1. Overture Sinfonia in D 2. Ah ciel, l'amico Cinna 3. Vieni ov'amor t'invita 4. Dunque sperar poss'io 5. Il tenero momento 6.

A te dell'amor mio 7. Se lusinghiera speme 8. Signor, duolmi vederti; Recitativo: Dalla spomda tenebrosa E tollerate io posso Il desio di vendetta Mozart completed his first opera in at the age of 11, but there is some disagreement as to which it was. It was purchased by Prince Albert in When we were recording it, I went there the week before to examine the manuscript. Mozart occasionally seems to be struggling to write the music that is already in his head. He has the sounds, but has not perfected the notation. The music taps into something so fundamental. He can suddenly do something that not even Gluck or Haydn were able to do, to capture an extraordinary level of connection with the human condition.

The operas that Mozart wrote in the following years vary in scale and ambition. Ascanio in Alba , composed in , is one of the weaker of the earlier operas, but again, that may be down to the commission and the libretto. Page sees Mozart going through the motions here, but not always really engaging with the uninspiring material. In the same period, however, Mozart also produced two of the real gems of his early career, a comedy, La Finta Semplice , and a tragedy, Mitridate, Re di Ponto.

Even without the music, it would hold its own as comic theatre. The machinations of how the father sets about trapping him are so well-conceived. Mitridate was written in Milan, and its success there led to another commission, in , for Lucio Silla. This one is a classic love triangle, set in ancient Rome. By the time of Lucio Silla we begin to get an idea of the composer Mozart would become. When we reach the mids, we begin to meet with operas that are occasionally staged today.

La Finta Giardiniera The Pretend Gardener , composed in , has had a few productions in recent years, including a high-profile staging at Glyndebourne last summer. It is another tale of conflicting love interests, this time set in modern-day Italy. You have all five characters and they all sing together about what a fantastic day it is. Even at this early stage he has excellent comic understanding, and you realise that there are lots of different layers going on.