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Dentro il mio petto

Opera details:

Opera title:

La Finta giardiniera

Composer:

Wolfgang Amadeus Mozart

Language:

Italian

Synopsis:

La Finta giardiniera Synopsis

Libretto:

La Finta giardiniera Libretto

Translation(s):

English Deutsch

Aria details:

Type:

aria

Role(s):

Don Anchise

Voice(s):

Tenor

Act:

1.06

Previous scene: Presto Nardo
Next scene: Vo subito partire

Jeremy Ovenden; "Dentro il mio petto"; LA FINTA GIARDINIERA; Wolfgang Amadeus Mozart

Singer: Kathleen Ferrier

THIS IS THE SUCCESSOR CHANNEL TO "liederoperagreats" WHICH WAS RECENTLY TERMINATED.
Jeremy Ovenden--tenor
Jonathan Cohen--conductor
Orchestra of the Age of Enlightenment
2011
===============
"The English tenor, Jeremy Ovenden, studied at the Royal College of Music and Drama in London with Norman Bailey and Neil Mackie. In 1994 he won an award from the Ian Fleming Trust which enabled him to continue his studies with Nicolai Gedda. He was a finalist in the 1998 Kathleen Ferrier Competition.

After his studies, Jeremy Ovenden started a successful concert career which brought him to collaborate with the most important orchestras and musical institutions throughout the world, among them: the City of London Sinfonia, the English Concert, Barbican Hall of London, Accademia Nazionale di Santa Cecilia in Rome, Concertgebouw in Amsterdam, Israel Chamber Orchestra, Swiss Radio of Lugano. His repertoire ranges from J.S. Bach to W.A. Mozart, from Haydn to Schubert, and includes works by Monteverdi, George Frideric Handel, Felix Mendelssohn, Rossini, Benjamin Britten.

Jeremy Ovenden's concert work has included W.A. Mozart’s Requiem with Ton Koopman and the Amsterdam Baroque Orchestra in Japan, J.S. Bach’s St John Passion (BWV 245) with Trevor Pinnock and the St Matthew Passion (BWV 244) with Richard Hickox, G.F. Handel’s Acis and Galatea with Ton Koopman at the Concertgebouw and in Lugano for the Swiss Radio, G.F. Handel's Messiah sung with The City of London Sinfonia conducted by Richard Hickox, as well as Theodora, Judas Maccabeus and various Cantatas. He has also sung works by Jommelli, Alessandro Scarlatti and Domenico Scarlatti with Christophe Rousset and Les Talens Lyriques in Paris, Lisbon, Leipzig and Brugges; W.A. Mozart's Krönung Messe and Requiem for the Orchestra dell'Accademia Nazionale di Santa Cecilia in Rome under the baton of Myung-Whun Chung and on tour in Japan; Karl in Holzbauer's Günter Von Schwarzburg with Ton Koopman for ARVO Radio, Schubert's Lazarus, Die Schöne Müllerin and Winterreise and F. Mendelssohn's Elijah. He recently appeared in Rossini's Cantata La Riconoscenza, recorded for the Italian Swiss Radio, Petite Messe Solennelle and B. Britten's Serenade with Tivoli Orchestra in Copenaghen.

After his operatic debut as Don Ottavio in Don Giovanni, conducted by Corrado Rovaris and directed by Daniele Abbado in Pavia, Cremona, Brescia, Como (a role that he would later re-propose in Detroit and Philadelphia), Jeremy Ovenden quickly established himself as one of the world's finest interpreters of W.A. Mozart. He appeared as Ferrando in Così fan Tutte at the Festival of Aix-En Provence and Beaune, at the Royal Opera House in Copenhagen, at the Théâtre des Champs Elysées de Paris, at the Festival Mozart in La Coruña and for Scottish Opera in Glasgow; as Emilio in Il Sogno di Scipione in the Montreux Festival, Freiburg and Paris; as Soliman in Zaide at the Mozart Festival of La Coruna, conducted by Rinaldo Alessandrini; in the title role of La Clemenza di Tito in Brescia, Como and Cremona. Following his successful American debut in Don Giovanni at the Opera Company in Philadelphia, he went on to make his long awaited debut as Tamino in Die Zauberflöte in Bozen and Cagliari.

Additional roles in his repertoire include G.F. Handel's Samson (title role) performed at the Festival d'Ambronay with Ton Koopman, Saul e David (Jonathan), sung at the Théâtre de la Monnaie with René Jacobs, Il sogno di Scipione, Samson and the Male Chorus in B. Britten's The Rape of Lucretia performed in the highly acclaimed production conducted by Jonathan Webb at the Teatro Carlo Felice di Genova and at the Teatro Comunale del Maggio Musicale Fiorentino

At the beginning of the 2002-2003 season, Jeremy Ovenden made his debut at the Bayerische Staatsoper in Munich and at the Teatro Regio di Torino, on both occasions in Così fan tutte. He then sang in Opera seria by Gassmann at the Théâtre des Champs Elysées in Paris and in Theodora at the Glyndebourne Festival Opera under the direction of Peter Sellars and conducted by Harry Bicket. He also performed Haydn's Harmoniemesse with the Orchestra of the Age of Enlightenment under Sir Simon Rattle. He began last season (2003-2004) with Don Giovanni performances in Italy, Lille and Luxembourg, followed by The Rape of Lucretia in Reggio Emilia. Other engagements included St John Passion (BWV 245) with the City of London Sinfonia, Arbace / Idomeneo in Naples, and J.S. Bach's B Minor Mass (BWV 232) with the Festival Sacré de Nice. This was followed by work with Marc Minkowski and Les Musiciens du Louvre in G.F. Handel's Il trionfo del tempo e del disinganno. He then appeared in European tours of both G.F. Handel`s Saul and Solomon conducted by René Jacobs."; bach-cantatas.com (edited)

Watch videos with other singers performing Dentro il mio petto:

Libretto/Lyrics/Text/Testo:

N. 3 - Aria

Allegro maestoso (re maggiore)

Archi, flauto, 2 oboe, 2 fagotti, 2 corni, 2 trombe, timpani.

PODESTÀ

Dentro il mio petto io sento

un suono, una dolcezza,
di flauti, e di oboè.
Che gioia, che contento,
manco per l'allegrezza,
più bel piacer non v'è.

Presto (re maggiore)

Archi, 2 oboe, 2 fagotti, 2 corni, 2 trombe, timpani.

PODESTÀ

Ma oh dio, che all'improvviso

si cangia l'armonia
che il cor fa palpitar.

Se n'entran le viole,

e in tetra melodia
mi vengono a turbar.

Poi sorge un gran fracasso:

li timpani, le trombe,
fagotti, e contrabbasso
mi fanno disperar.

(parte)

Scena terza

Sandrina, poi Nardo.

Recitativo

SANDRINA

Della nemica sorte
quante vicende mai finor soffersi!
Trafitta, abbandonata dall'amante
sotto spoglie mentite,
in esercizio abietto son contenta
passare i giorni miei:
almen potessi, oh dèi!
L'ingrato riveder: ma che mi giova
così struggermi in pianto...

NARDO

Marchesina...

SANDRINA

Ah taci per pietà, potrebbe alcuno
qui ascoltarti.

NARDO

Siam soli

né v'è alcun che ci senta.

SANDRINA

Tu sai, che l'anno è scorso
da quell'infausta notte,
che il Contino Belfiore
invaso da una pazza gelosia
mi trafisse spietato, ed all'istante
credendomi già morta
mi lasciò, si partì.

NARDO

Che brutto caso!

In ripensarlo solo
mi scappan le lagrime.

SANDRINA

Ah caro servo

sai pur, che a solo oggetto
di ritrovar l'amante, in queste spoglie
teco m'indussi andar raminga, e ognuno
mio cugino ti crede.
Ma quivi giunta appena,
si preparan per me nuovi disastri.

NARDO

Ma quella, perdonate,
mi pare frenesia: giacché la sorte
ci ha fatto capitare
in questo bel soggiorno
ove dal Podestà voi siete amata...

SANDRINA

Questo motivo appunto
or mi sprona a partir, vedermi astretta
i sospiri, le smanie,
i rimproveri udire in ogni istante
d'un importuno amante...

NARDO

Eh signorina

chi v'obbliga ad amarlo?
Seguitate lo stil dell'altre donne:
fingete, lusingatelo,
fategli quattro smorfie.

English Libretto or Translation:

No. 3 - Air

Allegro maestoso (king major)

Archi, flute, 2 oboe, 2 bassoons, 2 horns, 2 trumpets, timpani.

PODESTA

I feel inside my chest

a sound, a sweetness,
of flutes, and of oboe.
What joy, what happy,
I miss the joy,
there is no more beautiful pleasure.

Soon (king major)

Archi, 2 oboe, 2 bassoons, 2 horns, 2 trumpets, timpani.

PODESTA

But oh god, that suddenly

harmony is changed
that the heart makes palpitar.

If they violate them,

and in tetra melody
they come to me to turbar.

Then a great noise arises:

the eardrums, the trumpets,
bassoons and bass
they make me despair.

(part)

Third scene

Sandrina, then Nardo.

Recitative

SANDRINA

Of the enemy fate
how many events never ends up blowing!
Pierced, abandoned by the lover
in disguise lies,
in abject exercise I am happy
spend my days:
almen could, oh gods!
The ungrateful see again: but that benefits me
so torment me in tears ...

NARDO

Marchioness ...

SANDRINA

Ah shut up for pity, could some
here to listen to you.

NARDO

We are alone

nor is there any that hears us.

SANDRINA

You know, that last year
from that bad night,
that the Contino Belfiore
invaded by a mad jealousy
he ruthlessly pierced me, and instantly
believing me already dead
he left me, he left.

NARDO

What a bad case!

In just thinking it over
the tears escaped me.

SANDRINA

Ah dear servant

you know, that only object
to find the lover in these spoils
I induced you to go raminga, and everyone
my cousin believes you.
But there just arrived,
prepare new disasters for me.

NARDO

But that, forgive me,
it seems to me to be frenzy: since fate
he made us happen
in this beautiful living room
where from the Podestà you are loved ...

SANDRINA

This reason indeed
or spurts me to leave, to see myself as an astretta
sighs, desires,
the reproaches hear in every instant
of an importuno lover ...

NARDO

Oh, miss

who forces you to love him?
Follow the stil of the other women:
pretend, flatter it,
make four grimaces.

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