Music
Postmodern Jukebox
Ernesto De Curtis
Di Provenza il mar
Di Provenza il mar, Germont's aria from La Traviata Di Provenza il mar, il suol The sea and soil of Provence -- chi dal cor ti cancello? who has erased them from your heart? Al natio fulgente sol From your native, fulsome sun -- qual destino ti furo'? what destiny stole you away? Oh, rammenta pur nel duol Oh, remember in your sorrow ch'ivi gioia a te brillo'; that joy glowed on you, E che pace cola' sol and that only there peace su te splendere ancor puo'. can yet shine upon you. Dio mi guidò! Gox has guided me! Ah! il tuo vecchio genitor Ah, your old father -- tu non sai quanto soffrì! You don't know how much he has suffered! Te lontano, di squallor With you far away, with misery il suo tetto si coprì. has his house become full. Ma se alfin ti trovo ancor, But if in the end I find you again, se in me speme non fallì, if hope did not fail within me, Se la voce dell'onor if the voice of honor in te appien non ammutì, didn't become silenced in you, Dio m'esaudi'! God has heard me! Translation by Jonathan H. Ward (ilbasso@aol.com)
I Can’t Believe That You’re in Love with Me
Una voce poco fa, Rosina’s aria from Il barbiere di Siviglia:
Una voce poco fa A voice has just qui nel cor mi risuonò; echoed here into my heart il mio cor ferito è già, my heart is already wounded e Lindor fu che il piagò. and it was Lindoro who shot. Sì, Lindoro mio sarà; Yes, Lindoro will be mine lo giurai, la vincerò. I've swore it, I'll win. Il tutor ricuserà, The tutor will refuse, io l'ingegno aguzzerò. I'll sharpen my mind Alla fin s'accheterà finally he'll accept, e contenta io resterò. and happy I'll rest. Sì, Lindoro mio sarà; Yes, Lindoro will be mine lo giurai, la vincerò. I've swore it, I'll win. Io sono docile, son rispettosa, I'm gentle, respectful sono obbediente, dolce, amorosa; I'm obedient, sweet, loving mi lascio reggere, mi fo guidar. I let be ruled, I let be guided Ma se mi toccano dov'è il mio debole But if they touch where my weak spot is sarò una vipera e cento trappole I'll be a viper and a hundred traps prima di cedere farò giocar. before giving up I'll make them fall Translated by Gabriel Huaroc (ghuaroc@usm.edu.ec) source: www.aria-database.com
Questa o quella, the Duke’s aria from Rigoletto
Questa o quella per me pari sono This girl or that girl are just the same to me, a quant' altre d' intorno mi vedo, to all the others around me del mio core l' impero non cedo I won't give away my heart meglio ad una che ad altre beltà to this beauty nor to the others. La costoro avvenenza è qual dono Their charm is a gift di che il fato ne infiora la vita Given by destiny to embellish their lives s' oggi questa mi torna gradita If today I love this one forse un' altra doman lo sarà. I'll probably love someone else tomorrow. La costanza tiranna delcore We hate constancy, the heart's tyrant, detestiamo qual morbo crudele, as if it were a cruel plague, sol chi vuole si serbi fedele; Let those who wish to be faithful keep their fidelity alive; Non v'ha amor se non v'è libertà. There is no love without freedom. De' i mariti il geloso furore, The rage of jealous husbands degli amanti le smanie derido, and lovers' woes I despise, anco d' Argo i cent'occhi disfido I can defy Argo's hundred eyes se mi punge una qualche beltà. If I fancy a beautiful girl. Translation by Guia Monti (guiam@tinn.net)
Léo Delibes
Natural (music)
In music theory, a natural is an accidental which cancels previous accidentals and represents the unaltered pitch of a note.[1]
A note is natural when it is neither flat (♭) nor sharp (♯) (nor double-flat
nor double-sharp
). Natural notes are the notes A, B, C, D, E, F, and G represented by the white keys on the keyboardof a piano or organ. On a modern concert harp, the middle position of the seven pedals that alter the tuning of the strings gives the natural pitch for each string.
The scale of C major is sometimes regarded as the central, natural or basic major scale because all of its notes are natural notes, whereas every other major scale has at least one sharp or flat in it.
The notes F♭, C♭, E♯, B♯, and most notes inflected by double-flats and double-sharps correspond in pitch with natural notes; however, they are not regarded as natural notes but rather as enharmonic equivalents of them and are just as much chromatically inflected notes as most sharped and flatted notes that are represented by black notes on a keyboard.
https://en.m.wikipedia.org/wiki/Natural_(music)
Bejun Mehta
Christoph Willibald Gluck
Christoph Willibald (Ritter von) Gluck (German: [ˈkʁɪstɔf ˈvɪlɪbalt ˈɡlʊk]; 2 July 1714 – 15 November 1787) was a composer of Italian and French opera in the early classical period. Born in the Upper Palatinate (now part of Germany) and raised in Bohemia,[1] he gained prominence at the Habsburg court at Vienna, where he brought about the practical reform of opera’s dramaturgical practices that many intellectuals had been campaigning for over the years. With a series of radical new works in the 1760s, among them Orfeo ed Euridice and Alceste, he broke the stranglehold that Metastasian opera seria had enjoyed for much of the century.