Countertenor Videos
newest 100 countertenor videos / countertenor widgets / media rss:

High resolution and stereo sound: http://www.youtube.com/watch?v=mN23oTLpF2Y sol per brevi momenti date qualche riposo al cor d'Arsace! Vieni, pietoso oblio, ristora il petto mio cadente e lasso, e de' riposi miei sia letto un sasso. (S'ode una sinfonia mesta.) Aria Ma quai note di mesti lamenti qui d'intorno echeggiando sen vanno? Ah! che al suon di querele dolenti a dormir m'invita l'affanno. (Si adormenta.) Translation: Recitativo ARSACES I ask ye not, ye woes I bear, to leave me long in pleasing peace; some moments only from his care Arsaces' fighting soul release. Come, sweet oblivion, haste away, restore my weary wounded breast; my anguish for a while delay, and marble make my bed of rest. (A melancholy symphony is heard.) Aria What notes that mourn in such a solemn sound, so melancholy moving breath around? Ah! 'tis the murmur that my cares have chose to lull their weary clamours to repose. (Sleeps.) Author: civileso Keywords: George Frideric Handel Partenope Ma quai note mesti lamenti Non chiedo miei tormenti Andreas Scholl countertenor Arsace Concerto Copenhagen Lars Ulrik Mortensen Added: October 12, 2008

High resolution and stereo sound: http://www.youtube.com/watch?v=scLOnD1UO9Q it was also performed in Paris, Hamburg, and Brunswick. Like Handel's other works in the opera seria genre, Giulio Cesare fell into oblivion in the 19th century. In the 20th century, it was revived (in heavily altered form - reorchestrated and revamped with the male castrato roles transposed down for a baritone, tenor or bass) in Göttingen in 1922 by the Handel enthusiast Oskar Hagen. ... The work is considered by many to be Handel's finest Italian opera, possibly even the best in the history of opera seria. It is admired for its superb vocal writing, its dramatic impact, and its deft orchestral arrangements. ... Sesto (or Sextus) is the son of Cornelia and Pompey who has been killed by the Egyptians to show their loyalty to Caesar. The part of Sesto was first cast as a woman and then recast in Handel's lifetime as a tenor part. It is mostly cast as a trousers role in contemporary productions." Wikipedia, the free encyclopedia Original Text Recitative: Figlio non è, chi vendicar non cura del genitor lo scempio. Su dunque alla vendetta ti prepara, alma forte, e prima di morir altrui dà la morte! Aria: L'angue offeso mai riposa, se il veleno pria non spande dentro il sangue all'offensor. Così l'alma mia non osa di mostrarsi altera e grande, se non svelle l'empio cor. Translation Recitative; There is not a son who is not concerned With avenging his father's murder. Up then, prepare yourself for revenge, Brave soul, and, before dying, Cause another's death! Aria: The offended serpent will not rest Until it has spent its venom In the blood of its offender. Thus my soul does not dare To lay claim to greatness and pride Until the villain's heart has been torn from his breast. Author: civileso Keywords: George Frideric Handel Giulio Cesare Egitto Sesto L'angue offeso mai riposa Max Emanuel Cencic countertenor Ottavio Dantone Chambre Lausanne baroque opera Added: October 11, 2008

2008.9.27

2008.9.27

High resolution and stereo sound: http://www.youtube.com/watch?v=1GujAMB7YMo in the following recitative he prepares to die; in the last aria he pictures himself as the "shade of a Bacchante" on the gloomy banks of Acheron, ready to take revenge. So we have a conventional, but complete plot. ... As for the content, there is a mixture of ferocity and commiseration arising from the fact that the singer addresses two different objects: his "cruel memories" and his "wretched, injured and forsaken heart". Only in the last two verses does cruelty pertain no longer to the memories but to the beloved's "pitiless countenance" and "faithless soul", Dorilla's cruelty being emphasized, in the score, by a unison of all the instruments." ... The first recitative makes the work more expressive and, by virtue of its double character, seems to have been given the function of introducing the cantata as a whole rather than just its first aria." - Luigi Cataldi Original text: Recitativo Cessate, omai cessate rimembranze crudeli d'un affetto tiranno; già barbare e spietate mi cangiaste i contenti in un immenso affanno. Cessate, omai cessate di lacerarmi il petto, di trafiggermi l'alma, di toglier al mio cor riposo e calma. Povero core afflitto e abbandonato, se ti toglie la pace un affetto tiranno, perché un volto spietato, un'alma infida la sola crudeltà pasce ed annida. Aria Ah, ch'infelice sempre mi vuol Dorilla ingrata, ah, sempre più spietata m'astringe a lagrimar. Per me non v'è ristoro, per me non v'è più spene. E il fier martoro e le mie pene, solo la morte può consolar. Translation (by Luigi Cataldi): Recitativo Cease, henceforth cease, cruel memories of a despotic love; heartless and pitiless, you have turned my happiness into immense sorrow. Cease, henceforth cease to tear my breast, to pierce my soul, to rob my heart of peace and calm. Wretched, injured and forsaken you are, my heart, if a tyrannical passion can rob you of tranquillity because a pitiless countenance, a faithless soul, harbours and nurtures nothing but cruelty. Aria Ah, ungrateful Dorilla wishes me to remain unhappy; ah, ever more pitilessly she forces out my tears. For me there is no remedy, for me no more hope. Only death will assuage my bitter pain and sorrow. Author: civileso Keywords: Antonio Vivaldi Cessate omai Derek Lee Ragin Teatro Lirico Stephen Stubbs cantata countertenor Added: August 18, 2008

High resolution and stereo sound: http://www.youtube.com/watch?v=FVx-Fopz-nE in the following recitative he prepares to die; in the last aria he pictures himself as the "shade of a Bacchante" on the gloomy banks of Acheron, ready to take revenge. So we have a conventional, but complete plot. ... As for the content, there is a mixture of ferocity and commiseration arising from the fact that the singer addresses two different objects: his "cruel memories" and his "wretched, injured and forsaken heart". Only in the last two verses does cruelty pertain no longer to the memories but to the beloved's "pitiless countenance" and "faithless soul", Dorilla's cruelty being emphasized, in the score, by a unison of all the instruments." ... The first recitative makes the work more expressive and, by virtue of its double character, seems to have been given the function of introducing the cantata as a whole rather than just its first aria." - Luigi Cataldi Original text: Recitativo A voi dunque ricorro, orridi spechi, taciturni orrori, solitari ritiri ed ombre amiche; tra voi porto il mio duolo, perché spero da voi quella pietade che Dorilla inumana non annida. Vengo, spelonche amate, vengo, spechi graditi, alfine meco involto in mio tormento in voi resti sepolto. Aria Nell'orrido albergo, ricetto di pene, potrò il mio tormento sfogare contento, potrò ad alta voce chiamare spietata Dorilla l'ingrata, morire potrò. Andrò d'Acheronte su la nera sponda, tingendo quest'onda di sangue innocente, gridando vendetta ed ombra baccante vendetta farò. Translation (by Luigi Cataldi): Recitativo So it is to you, gloomy places, silent horrors, lonely caves and friendly shades, that I come and bring my grief, because I hope to obtain from you a pity that is not to be found in ungrateful Dorilla. Beloved caves, I come, I come, welcoming places, until finally, racked by my pains, I will bury myself in you. Aria In this horrible refuge, sheltering from my pains, I shall be able to give vent to my grief, to call out: 'Dorilla heartless and ungrateful', and to die. I'll go to the gloomy banks of Acheron, staining that stream with my blameless blood, crying for revenge and, like the shade of a Bacchante, I will take my revenge. Author: civileso Keywords: Antonio Vivaldi Cessate omai Derek Lee Ragin Teatro Lirico Stephen Stubbs cantata countertenor Added: August 18, 2008

High resolution and stereo sound: http://www.youtube.com/watch?v=yfNg1Lp2lbs in the following recitative he prepares to die; in the last aria he pictures himself as the "shade of a Bacchante" on the gloomy banks of Acheron, ready to take revenge. So we have a conventional, but complete plot. ... As for the content, there is a mixture of ferocity and commiseration arising from the fact that the singer addresses two different objects: his "cruel memories" and his "wretched, injured and forsaken heart". Only in the last two verses does cruelty pertain no longer to the memories but to the beloved's "pitiless countenance" and "faithless soul", Dorilla's cruelty being emphasized, in the score, by a unison of all the instruments." ... The first recitative makes the work more expressive and, by virtue of its double character, seems to have been given the function of introducing the cantata as a whole rather than just its first aria." - Luigi Cataldi Original text: Recitativo Cessate, omai cessate rimembranze crudeli d'un affetto tiranno; già barbare e spietate mi cangiaste i contenti in un immenso affanno. Cessate, omai cessate di lacerarmi il petto, di trafiggermi l'alma, di toglier al mio cor riposo e calma. Povero core afflitto e abbandonato, se ti toglie la pace un affetto tiranno, perché un volto spietato, un'alma infida la sola crudeltà pasce ed annida. Aria Ah, ch'infelice sempre mi vuol Dorilla ingrata, ah, sempre più spietata m'astringe a lagrimar. Per me non v'è ristoro, per me non v'è più spene. E il fier martoro e le mie pene, solo la morte può consolar. Translation (by Luigi Cataldi): Recitativo Cease, henceforth cease, cruel memories of a despotic love; heartless and pitiless, you have turned my happiness into immense sorrow. Cease, henceforth cease to tear my breast, to pierce my soul, to rob my heart of peace and calm. Wretched, injured and forsaken you are, my heart, if a tyrannical passion can rob you of tranquillity because a pitiless countenance, a faithless soul, harbours and nurtures nothing but cruelty. Aria Ah, ungrateful Dorilla wishes me to remain unhappy; ah, ever more pitilessly she forces out my tears. For me there is no remedy, for me no more hope. Only death will assuage my bitter pain and sorrow. Author: civileso Keywords: Antonio Vivaldi Cessate omai Andreas Scholl Ensemble 415 Chiara Banchini cantata countertenor Added: August 16, 2008

High resolution and stereo sound: http://www.youtube.com/watch?v=uUEOGOISkH4 in the following recitative he prepares to die; in the last aria he pictures himself as the "shade of a Bacchante" on the gloomy banks of Acheron, ready to take revenge. So we have a conventional, but complete plot. ... As for the content, there is a mixture of ferocity and commiseration arising from the fact that the singer addresses two different objects: his "cruel memories" and his "wretched, injured and forsaken heart". Only in the last two verses does cruelty pertain no longer to the memories but to the beloved's "pitiless countenance" and "faithless soul", Dorilla's cruelty being emphasized, in the score, by a unison of all the instruments." ... The first recitative makes the work more expressive and, by virtue of its double character, seems to have been given the function of introducing the cantata as a whole rather than just its first aria." - Luigi Cataldi Original text: Recitativo A voi dunque ricorro, orridi spechi, taciturni orrori, solitari ritiri ed ombre amiche; tra voi porto il mio duolo, perché spero da voi quella pietade che Dorilla inumana non annida. Vengo, spelonche amate, vengo, spechi graditi, alfine meco involto in mio tormento in voi resti sepolto. Aria Nell'orrido albergo, ricetto di pene, potrò il mio tormento sfogare contento, potrò ad alta voce chiamare spietata Dorilla l'ingrata, morire potrò. Andrò d'Acheronte su la nera sponda, tingendo quest'onda di sangue innocente, gridando vendetta ed ombra baccante vendetta farò. Translation (by Luigi Cataldi): Recitativo So it is to you, gloomy places, silent horrors, lonely caves and friendly shades, that I come and bring my grief, because I hope to obtain from you a pity that is not to be found in ungrateful Dorilla. Beloved caves, I come, I come, welcoming places, until finally, racked by my pains, I will bury myself in you. Aria In this horrible refuge, sheltering from my pains, I shall be able to give vent to my grief, to call out: 'Dorilla heartless and ungrateful', and to die. I'll go to the gloomy banks of Acheron, staining that stream with my blameless blood, crying for revenge and, like the shade of a Bacchante, I will take my revenge. Author: civileso Keywords: Antonio Vivaldi Cessate omai Andreas Scholl Ensemble 415 Chiara Banchini cantata countertenor Added: August 16, 2008

High resolution and stereo sound: http://www.youtube.com/watch?v=R0WIr9QAdqw in the following recitative he prepares to die; in the last aria he pictures himself as the "shade of a Bacchante" on the gloomy banks of Acheron, ready to take revenge. So we have a conventional, but complete plot. ... As for the content, there is a mixture of ferocity and commiseration arising from the fact that the singer addresses two different objects: his "cruel memories" and his "wretched, injured and forsaken heart". Only in the last two verses does cruelty pertain no longer to the memories but to the beloved's "pitiless countenance" and "faithless soul", Dorilla's cruelty being emphasized, in the score, by a unison of all the instruments." ... The first recitative makes the work more expressive and, by virtue of its double character, seems to have been given the function of introducing the cantata as a whole rather than just its first aria." - Luigi Cataldi Original text: Recitativo Cessate, omai cessate rimembranze crudeli d'un affetto tiranno; già barbare e spietate mi cangiaste i contenti in un immenso affanno. Cessate, omai cessate di lacerarmi il petto, di trafiggermi l'alma, di toglier al mio cor riposo e calma. Povero core afflitto e abbandonato, se ti toglie la pace un affetto tiranno, perché un volto spietato, un'alma infida la sola crudeltà pasce ed annida. Aria Ah, ch'infelice sempre mi vuol Dorilla ingrata, ah, sempre più spietata m'astringe a lagrimar. Per me non v'è ristoro, per me non v'è più spene. E il fier martoro e le mie pene, solo la morte può consolar. Translation (by Luigi Cataldi): Recitativo Cease, henceforth cease, cruel memories of a despotic love; heartless and pitiless, you have turned my happiness into immense sorrow. Cease, henceforth cease to tear my breast, to pierce my soul, to rob my heart of peace and calm. Wretched, injured and forsaken you are, my heart, if a tyrannical passion can rob you of tranquillity because a pitiless countenance, a faithless soul, harbours and nurtures nothing but cruelty. Aria Ah, ungrateful Dorilla wishes me to remain unhappy; ah, ever more pitilessly she forces out my tears. For me there is no remedy, for me no more hope. Only death will assuage my bitter pain and sorrow. Author: civileso Keywords: Antonio Vivaldi Cessate omai Gerard Lesne Seminario Musicale Fabio Biondi cantata countertenor Added: August 15, 2008

High resolution and stereo sound: http://www.youtube.com/watch?v=HfptcS-wVHc in the following recitative he prepares to die; in the last aria he pictures himself as the "shade of a Bacchante" on the gloomy banks of Acheron, ready to take revenge. So we have a conventional, but complete plot. ... As for the content, there is a mixture of ferocity and commiseration arising from the fact that the singer addresses two different objects: his "cruel memories" and his "wretched, injured and forsaken heart". Only in the last two verses does cruelty pertain no longer to the memories but to the beloved's "pitiless countenance" and "faithless soul", Dorilla's cruelty being emphasized, in the score, by a unison of all the instruments." ... The first recitative makes the work more expressive and, by virtue of its double character, seems to have been given the function of introducing the cantata as a whole rather than just its first aria." - Luigi Cataldi Original text: Recitativo A voi dunque ricorro, orridi spechi, taciturni orrori, solitari ritiri ed ombre amiche; tra voi porto il mio duolo, perché spero da voi quella pietade che Dorilla inumana non annida. Vengo, spelonche amate, vengo, spechi graditi, alfine meco involto in mio tormento in voi resti sepolto. Aria Nell'orrido albergo, ricetto di pene, potrò il mio tormento sfogare contento, potrò ad alta voce chiamare spietata Dorilla l'ingrata, morire potrò. Andrò d'Acheronte su la nera sponda, tingendo quest'onda di sangue innocente, gridando vendetta ed ombra baccante vendetta farò. Translation (by Luigi Cataldi): Recitativo So it is to you, gloomy places, silent horrors, lonely caves and friendly shades, that I come and bring my grief, because I hope to obtain from you a pity that is not to be found in ungrateful Dorilla. Beloved caves, I come, I come, welcoming places, until finally, racked by my pains, I will bury myself in you. Aria In this horrible refuge, sheltering from my pains, I shall be able to give vent to my grief, to call out: 'Dorilla heartless and ungrateful', and to die. I'll go to the gloomy banks of Acheron, staining that stream with my blameless blood, crying for revenge and, like the shade of a Bacchante, I will take my revenge. Author: civileso Keywords: Antonio Vivaldi Cessate omai Gerard Lesne Seminario Musicale Fabio Biondi cantata countertenor Added: August 15, 2008

La Voce ( Sopranista ) sings Lascia Ch'io Pianga (With slideshow)Composer: G.F.Handel

Stefano Landi Sant'Alessio "O morte gradita" Act II, Sc. 7 Libretto: Giulio ROSPIGLIOSI http://www.librettidopera.it/zpdf/alessio.pdf First performance: 8 March 1631, Rome In this video: Sant'Alessio: Philippe Jaroussky, countertenor. Les Arts Florissants, conducted by William Christie. Director: Benjamin Lazar. Théâtre de Caen, October 18, 2007. While searching for more and more scores as Marc and I usually do, we came across this manuscript fragment (a copy, not an autograph) from Landi's Il Sant' Alessio. Of course the temptation was too great to resist. So I decided to work on a video project. I had one problem out of many which almost stopped me from making the video: the score I found didn't have the instrumental parts, but only the vocal part and the continuo. The other problems were: (a) only the first half of the text was shown on the manuscript, and (b) there were some pauses in the score that recording didn't have as well as some notes that were held longer than Philippe Jaroussky sings. Once I found the solution for the main problem by filling the gaps in the score with the images from the DVD, I asked Marc for his opinion on it. And he came up with the idea of writing the score in hand and making it fit the recording. This also allowed us to present the second part of the text on the score. The text and translation was also prepared by Marc. And after that, all I had to do was to use image manipulation to stylize the score captures and design the title slide and to put together all three components: the sound, the images and the score. The end result, I must say, is a bit eerie yet much more beautiful than I imagined it would be. - Eser I made this score in the Baroque style, without trying to reach perfect authenticity. My source was an early 20th-century handwritten copy, where the voice part was written in G clef; I used a first-line C clef instead, which was used for soprano parts in the Baroque period. I adjusted the word-setting to Philippe Jaroussky's singing (namely the melisma on "vita" and "chiave", and also "o Morte" repeated), but of course his ornamentation is not indicated. I also cut two bars that were not performed, as well as the continuo realisation (right hand). - Marc D. Text: O Morte gradita, ti bramo, ti aspetto; dal duolo al diletto tuo calle m'invita, o Morte gradita. Dal carcer umano tu sola fai piano il varco alla vita, o Morte gradita. O Morte soave, de' giusti conforto, tu guidi nel porto d'ogni alma la nave, o Morte soave. Il viver secondo tu n'apri nel mondo, con gelida chiave, o Morte soave. Translation (by Marc D.): O pleasant Death, I want you, I await you; your path invites me (to go) from pain to delight, O pleasant Death. Only you make beautiful the passage from the human prison to life, O pleasant Death. O sweet Death, solace of the righteous, you lead into the harbour the ship of every soul, O sweet Death. You open in this world the (doors of the) second life with a frozen key, O sweet Death. Author: civileso Keywords: Stefano Landi Sant'Alessio Morte gradita Philippe Jaroussky countertenor Arts Florissants William Christie baroque Added: July 18, 2008

Me Singing No One by Alicia Keys. The audio is not the greatest quality. I did not set the mic levels correctly and it peaks a lot. Thanks so much for watching!!!!

Me Singing No One by Alicia Keys. The audio is not the greatest quality. I did not set the mic levels correctly and it peaks a lot. Thanks so much for watching!!!! Author: goonieman86 Keywords: nick pitera alicia keys no one me singing R&B live falsetto countertenor Added: January 8, 2008

me singing oh holy night by celine dion Author: goonieman86 Keywords: oh holy night nick pitera christmas singing celine dion mariah carey countertenor falsetto live Added: December 14, 2007

Same monologue as in the other video on here, but on a stage. This is in black and white. Author: dsfetterolf Keywords: Vitas Russian singer countertenor awsome! Added: January 12, 2007