Lorenzo da Ponte wrote the libretto for Mozart’s Figaro after falling out with Antonio Salieri, who, as imperial court composer, had obtained the position of court poet for da Ponte. At the time of the opera’s composition and first performances, there was a climate of antagonism among factions of Italian musicians and poets living in Vienna, among whom was counted Salieri. Although the efforts of the anti-Mozart Italian clique did not succeed in having Mozart’s Figaro banned from the stage, the opera did receive fewer than ten performances in Vienna immediately after its première at the Burgtheater on May 1, 1786. Figaro would have tremendous success in Prague, however, before spreading to other parts of Europe and becoming a classic of the opera buffa repertory. So began the fortuitous Mozart/da Ponte relationship, from which would come two further masterworks, Don Giovanni (1787) and Così fan tutte (1789-1790).
Mozart admired Pierre Auguste Caron de Beaumarchais’ politically radical play Le mariage de Figaro (1781), the second play in what would become a trilogy based on the autobiographical character Figaro. Beaumarchais’ Le barbier de Séville had been performed in 1775 and the third play of the trilogy, La mère coupable, would be premièred in 1793. In his Figaro plays, Beaumarchais, who himself was a participant in the Revolution, working towards anti-aristocratic revolutionary ideas, sharply spoofs pre-Revolution French society.
The libretto has long been considered flimsy, misogynistic, immoral, and dramatically unresolvable. However, any judgement of the opera as a whole must take account of Mozart’s exceedingly fine and deeply interesting score. Through music, Fiordiligi transcends her role as the victim of cruel manipulation, revealing a complex personality that is sincere, capable of growth, and inarguably sympathetic. In contrast, Guglielmo never progresses beyond concern for his own ego and interests; his music, fittingly, remains within the stock traditions of opera buffa. Each of the six characters receives an equally insightful portrait, and the ambigous nature of the ending (who actually loves whom?), while vexing to directors and audiences, can be seen as appropriate, given the emotional issues aired during the drama.
The marriage of Mozart’s score and da Ponte’s libretto represents the apotheosis of the opera buffa genre (making its setting in Naples—the birthplace of the genre—all the more appropriate) and embodies the best of the Classical era. Moments that, at first glance, seem transparent, formulaic, and impersonal become instead clarifying, organic, and genuinely inspired.
Mozart’s music for Figaro consists of conventional dry and accompanied recitative, aria, and ensemble pieces. The overture, despite having no development section, is essentially in sonata form. Mozart musically conveys the range of Figaro’s perturbation in his Act One cavatina, “Se vuol ballare,” by whimsically changing the character of his music to correspond with Figaro’s machinations. Mozart also imbues Figaro’s rondo-form aria, “Non più andrai, farfallone amoroso,” with colorful musical depictions of Cherubino’s forthcoming military service through dotted rhythms and trumpet arpeggio fanfares. The Countess’ cavatina, “Porgi amor,” conveys the character’s elevated social status through its graceful melodic language. The duet (“Aprite, presto, aprite”) between Susanna and Cherubino in Act Two bristles expectantly with its moto perpetuo string writing and nervous, patter vocal declamation. In the Count’s and Susanna’s Act Three duet (“Crudel! Perchè finora”), the minor mode conveys the Count’s initial grief and a shift to major mode, after Susanna agrees to come to the garden, confirms a sense of momentary resolution. Later, in the Count’s accompanied recitative (“Hai già vinta la causa!”), the orchestra adds an extra emphasis to his verbal expression of anger and agitation through impetuous dotted rhythms and string tremolos. Through furiously rapid-scale passages and trills, the orchestra maintains this angry intensity in the Count’s vengeance aria (“Vedrò mentr’io sospiro”). Barbaina’s Act Four cavatina, “L’ho perduta…me meschina!” introduces a minor mode melody of classic Mozartean pathos. The finale of Act Four brings the principal characters to beg the Count’s forgiveness and the music swells from a pious hymn-like ensemble to a triumphant fanfare-laden exultation.
Wolfgang Amadeus Mozart was born on January 27, 1756 in Salzburg. He and his sister Maria-Anna were child prodigies in music. They were still very young when their father Leopold showed off their musical talents throughout Europe (Paris, London…): Wolfgang played the violin and Maria-Anna played the piano. These trips in Europe allowed Mozart to discover many musicians (including the son of Johann Sebastian Bach) and to make significant progress both as a performer and a composer. Mozart wrote his first opera at the age of 11!
Writing became his major source of income. He worked for example for the Archbishop Colloredo. However, looking at his correspondence, he did not particularly enjoy working for him and stopped in 1781.
He married Constance Weber and worked as a special music teacher for wealthy families. If Mozart earned a lot of money, he is more known for his inability to manage it. He really enjoyed partying. In 1791, he composed two new masterpieces: the Magic Flute and the Requiem. At just 35, Mozart died in Vienna, Austria, on December 5, 1791, leaving more than 600 works to posterity.
Susanna began her musical training with Harpenden Musicale. After graduating from Exeter University with first-class honours in music she studied at the GSMD and University of Cincinnati, winning many accompanist prizes. She was répétiteur for Cincinnati Opera, San Francisco Opera’s Merola Programme, and a member of the Houston Grand Opera Studio, Texas. From 2004-2006, Susanna was a répétiteur on the Young Artists Programme at the Royal Opera House, Covent Garden.
She has since worked regularly for the ROH, for the Glyndebourne Festival and Tour, Opera Grange Park, the Blackheath Halls, the Philharmonia orchestra, Complicite and the Festspiele and Landestheater, Salzburg. Susanna has accompanied leading singers and instrumentalists in recital performances including Bryn Terfel, Sir John Tomlinson, Christine Rice, Kate Royal, Mark Padmore, Kurt Streit, Jeremy White, Andrew Kennedy, Adrian Thompson, Ailish Tynan, Andrei Bondarenko, oboist Melanie Ragge and cellists Guy Johnston and Paul Watkins. Susanna also plays for Ellipsis – a trio for flute, oboe and piano – and enjoys engagements with them throughout the country. She has broadcast live for the BBC on both television and radio.
Currently a Senior Opera Coach at the Guildhall School of Music and Drama, the Royal Academy of Music, the Welsh International Academy of Voice, The National Opera Studio, and for the Jette Parker Young Artists Programme, Susanna is also official pianist for the Veronica Dunne International Singing Competition, the National Youth Chamber Orchestra of GB and Music Director for the Opera Scenes at the Oxenfoord International Summer School. Susanna is Head of Music for Garsington Opera.
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Matteo Dalle Fratte
Italian Vocal Coach
Matteo Dalle Fratte was born in Asolo, near Venice. He studied Arts, Literature, History of Music and Musicology with Dr Anna Laura Bellina at the University of Padova and achieved a 5-year degree cum laude in 2003 with a thesis about Giacomo Puccini. He studied singing at the Steffani Conservatoire of Castelfranco Veneto and privately with the bass Paolo Badoer, a pupil of Gilda Dalla Rizza who was one of Puccini’s favourite sopranos. He also studied piano at the Malipiero Institute of Asolo and at the Morello Institute of Castelfranco Veneto.
From 2006-08 Matteo was Artistic Director of the Theatre Auditorium Spazio Binario in the town of Zola Predosa, where he collaborated with the University and the Conservatoire of Bologna. In the same period he was employed by Kaleidos Musical Association as an organisational director of Baroque Music Tours around Italy.
Matteo also worked for many years as a journalist and a music critic for the magazine Rassegna Melodrammatica of Milan and the newspaper Gazzettino. He published biographies of the soprano Gilda Dalla Rizza and the tenor Giovanni Lunardi and wrote the History of Teatro Sociale in Notiziario degli Amici del Museo of Bassano del Grappa.
Matteo moved to London in 2008 and obtained a Masters in Music at the Guildhall School of Music & Drama, where he studied with Scott Johnson and Emanuele Moris. As a tenor he has performed in concerts and opera productions in the UK and Italy. His main repertoire focuses on the Italian romantic operas written by Verdi, Puccini and composers from the ‘Giovine Scuola’.
He was appointed Professor at the Guildhall School of Music & Drama in 2010, where he teaches Italian grammar and holds recitative classes and coaching sessions. Matteo has been an Italian coach at the National Opera Studio in London since 2010 and has coached opera productions including Raymond Gubbay’s Aida at the Royal Albert Hall, Vivaldi’s Olimpiade with La Serenissima and Puccini’s Madama Butterfly at the Grange Park Opera.
Musical research and history of music are also part of his commitment, both as a performer and as a musicologist. One of his current research projects is the study of Italian phonetics for singers with the aim to establish a new Italian lyrics phonetic system from the performer’s point of view. As a musicologist, Matteo has being working with the Claudio Monteverdi Foundation in London.
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L’ho perduta me meschina by Mozart – Translation / Accompaniment with sheet music of L’ho perduta, me meschina by W.A Mozart
Lyribox, the popular online store for classical sheet music, accompaniment and translations brings the best of L’ho perduta me meschina by W.A Mozart sheet music, L’ho perduta me meschina Mozart accompaniments and L’ho perduta me meschina Mozart translations to the fans gathered around the site, for the best price that could be found online. The sheet music, accompaniments and translations provided by Lyribox for L’ho perduta me meschina are of highest quality and accuracy.
Sheet Music
L’ho perduta me meschina is the aria of Barbarina, Antonio the gardener’s daughter from the opera ‘Le Nozze di Figaro’ by W.A MOzart. The original lyrics by Lorenzo Da Ponte were in Italian. The melodious note arrangement of L’ho perduta me meschina ranges from pianissimo (very soft) mellow notes to forte (loud) notes carrying the player and the audience through an array of vivid emotions. The sweet soft beginning of the music piece gradually increases and decreases the loudness in smooth transitions. This music piece is decorated with phrases, slurs and an arpeggio. A perfect arrangement for piano players to try with an intermediate knowledge in music. Students can make use of this sweet music piece to improve their knowledge in music expressions, ornaments and sight-reading, while all music lovers could enjoy this brilliant extract whole-heartedly.
L’ho perduta me meschina sheet music produced by Lyribox is clear, precise and is transcribed in English by Emily Chase. By purchasing L’ho perduta me meschina by Mozart from us, you can simply sign along as you play this masterpiece on your piano. Unlike many sheet music sold online with all black notations, L’ho perduta me meschina sheet music we offer you is marked using three distinct colors. While piano notation is illustrated in black, the music expressions and the lyrics are given in red and blue respectively. Get the L’ho perduta me meschina Mozart sheet music from Lyribox today to enjoy and share this wonderful music composition with your friends and family.
Accompaniment
L’ho perduta me meschina Mozart piano accompaniment in A flat major offered by Lyribox is mellow and smooth. It feeds the poem an underlying pulse, adding a sense of propulsion to it. Meanwhile the vocal line flows in a dreamy leisure manner forcing the audience into a calming and languid mood. The vocal line of L’ho perduta me meschina by Lyribox has the potential to provide slight pitch support for the voice’s sometimes unusual intervals, enhancing the fullness of it. This accompaniment that also comes in A flat major is not at all demanding. Using these rich L’ho perduta me meschina accompaniments you could create one of the most brilliant performances that is pregnant with layers and layers of expressions. Purchase the L’ho perduta me meschina piano accompaniment together with the L’ho perduta me meschina vocal line accompaniment from Lyribox today!
Translation
Music is said to be a universal language, but when delivered in your own language the ability to feel and understand the composer’s creation becomes easier. L’ho perduta me meschina, which is ranked as the best known works of Mozart’s for voice has been translated from Italian to English by Lyribox. Enjoy a beautiful masterpiece of Classical music in your mother tongue. Lyribox also offers verse-to-verse translation. These music translations are perfect for music schools, students learning classical music and anyone who has a passion for classical western music. Now you can reserve your L’ho perduta me meschina Mozart translation for the lowest price in the market, if your purchase it from this premium online store.
Besides Lyribox has also provided you with two Italian audio text files of L’ho perduta me meschina. One with a normal tempo and the other with a bit slowed version. Based on your preference you can choose the ideal L’ho perduta me meschina audio file to adopt the right pronunciation and timing. While the text file with the normal tempo will help you with your timing, the slower one will help you catch the correct Italian words. To get your song perfect, buy the L’ho perduta me meschina audio texts from Lyribox now!