Chi Body Presence

Entering the World of Energy Healing

Arguably the greatest opera ever written, the Mozart/Da Ponte depiction of the last twenty-four hours of the legendary libertine is performed here in the standard version combining the two versions Mozart prepared. Abbado offers modern instruments with certain nods to period performance practice–many appoggiaturas, comparatively fleet tempos, and some modest ornamentation.

Arguably the greatest opera ever written, the Mozart/Da Ponte depiction of the last twenty-four hours of the legendary libertine is performed here in the standard version combining the two versions Mozart prepared. Abbado offers modern instruments with certain nods to period performance practice–many appoggiaturas, comparatively fleet tempos, and some modest ornamentation.

Improved mental health and Mindfulness via ancient tai-chi practices, bioenergetics breathing exercises, and dance art

A cherishable Mozart soprano of the 1950s and 60s, celebrated with the complete reissue of a Decca recital album, newly remastered. The quality that defined Graziella Sciutti as a singer was lightness – of voice, of bearing and presence on stage. Her vivacious intelligence was no less suited to the Rossini, Bellini and Donizetti roles which began what was remarkably her only operatic recital album, recorded by Decca in Vienna in 1961. There is Rosina (Il barbiere di Siviglia), which marked her debut at Glyndebourne in 1953 and Norina (Don Pasquale), which in Milan saw her unofficially crowned as the 'Queen of the Piccola Scala'. As Maria in La figlia del reggimento, she had made her Wexford Festival debut in 1957, at a time when Donizetti's opera was virtually unknown; the critic of the Musical Times was entirely won over by 'both the personality and singing of Graziella Sciutti.

Alessandro Stradella was a highly influential composer in his day, producing an abundance of masterpieces despite his dissolute and dramatically brief life.

Arguably the greatest opera ever written, the Mozart/Da Ponte depiction of the last twenty-four hours of the legendary libertine is performed here in the standard version combining the two versions Mozart prepared. Abbado offers modern instruments with certain nods to period performance practice–many appoggiaturas, comparatively fleet tempos, and some modest ornamentation.