Il Matrimonio Segreto, opera: Act 1. Cara, non dubitar
Il Matrimonio Segreto, opera: Act 1. Lusinga, no, non'?
Il Matrimonio Segreto, opera: Act 1. Io ti lascio perch? uniti
Il Matrimonio Segreto, opera: Act 1. Ecco che qui sen viene
Il Matrimonio Segreto, opera: Act 1. Udite, tutti udite
Il Matrimonio Segreto, opera: Act 1. Signora Sorellina
Il Matrimonio Segreto, opera: Act 1. Le faccio un inchino
Il Matrimonio Segreto, opera: Act 1. Chetatevi, e scusatela
Il Matrimonio Segreto, opera: Act 1. ? vero che in casa
Il Matrimonio Segreto, opera: Act 1. Prima che arrivi il conte
Il Matrimonio Segreto, opera: Act 1. Senza tante cerimonie
Il Matrimonio Segreto, opera: Act 1. Con vostra permissione
Il Matrimonio Segreto, opera: Act 1. Sento in petto
Il Matrimonio Segreto, opera: Act 1. Pi? a lungo la scoperta
Il Matrimonio Segreto, opera: Act 1. Signor, deh concedete
Il Matrimonio Segreto, opera: Act 1. Oh, Carolina
Il Matrimonio Segreto, opera: Act 1. Perdonate, signor mio
Il Matrimonio Segreto, opera: Act 1. Tu mi dici che del conte
Track Listings (13) - Disc #2
Il Matrimonio Segreto, opera: Act 1. Lasciatemi, singore
Il Matrimonio Segreto, opera: Act 1. Silenzio, silenzio!
Il Matrimonio Segreto, opera: Act 2. Questa invero ? curiosa
Il Matrimonio Segreto, opera: Act 2. Se fiato in corpo avete
Il Matrimonio Segreto, opera: Act 2. Ecco che or ora scoppia
Il Matrimonio Segreto, opera: Act 2. Sento, ahim?! Che mi vien male
Il Matrimonio Segreto, opera: Act 2. Vanne, vanne
Il Matrimonio Segreto, opera: Act 2. Pria che spunti in ciel l'aurora
Il Matrimonio Segreto, opera: Act 2. Elisetta, mia cara, vi trovo ben ben turbata
Il Matrimonio Segreto, opera: Act 2. Dunque ander? in ritiro
Il Matrimonio Segreto, opera: Act 2. Deh! Lasciate ch'io respiri
Il Matrimonio Segreto, opera: Act 2. Il parlar di Carolina
Il Matrimonio Segreto, opera: Act 2. Deh, ti conforta o cara
Domenico Cimarosa (1749-1801) was one of the most important and successful Italian composers of the eighteenth century, with a considerable international reputation. Among his admirers were Goethe and Stendhal, the latt... more »er saying of Il matrimonio segreto that "None of the women I have enjoyed gave me such a delightful, careless moment." Cimarosa beat out Mozart for the post of court music director in Vienna, and at the height of his fame, Il matrimonio segreto became his greatest success. Emperor Leopold II was so taken with the opera that he invited Cimarosa and the cast to dine with him after the premiere, and then to return to the theater and repeat it all over again! Today, Il matrimonio segreto is one of the few comic operas to look back on an uninterrupted performance tradition of over 200 years.« less
Domenico Cimarosa (1749-1801) was one of the most important and successful Italian composers of the eighteenth century, with a considerable international reputation. Among his admirers were Goethe and Stendhal, the latter saying of Il matrimonio segreto that "None of the women I have enjoyed gave me such a delightful, careless moment." Cimarosa beat out Mozart for the post of court music director in Vienna, and at the height of his fame, Il matrimonio segreto became his greatest success. Emperor Leopold II was so taken with the opera that he invited Cimarosa and the cast to dine with him after the premiere, and then to return to the theater and repeat it all over again! Today, Il matrimonio segreto is one of the few comic operas to look back on an uninterrupted performance tradition of over 200 years.
CD Reviews
Not recommended
OperaCub | New England, USA | 02/29/2008
(2 out of 5 stars)
"I confess that having bought this recording, I listened once and immediately took it to my local used CD store and sold it. Having only given it the one listen, I can't offer detailed reviews of the individual performances as I'd like, only an overall impression. I found the vocal ensemble undistinguished, the orchestral sound and conducting unremarkable at best. "Matrimonio" is a piece I know well; the score has tremendous charm and many beautiful and witty moments throughout. It does need a very strong ensemble equipped with pretty voices and solid technique, strong personalities, and theatrical flair. It doesn't survive a mediocre recorded performance well. I'm hopeful of finding a better version. (I haven't heard the Barenboim in decades, but I remember its being very well sung. The old EMI/Scala performance was lots of fun, but the opera is very heavily cut, and Stignani is just too old for Fidalma.)"