Uberto Miletto

Abitua il tuo fisico a un'alimentazione equilibrata e ricca di proteine, inizia a fare esercizio fisico per potenziare i tuoi muscoli e scopri come migliorare il tuo corpo in maniera del tutto naturale! …

In questo manuale ho inserito l’esperienza maturata in questi ultimi anni di insegnamento di questa disciplina, tanti spunti, tanti esercizi e programmi d’allenamento che ti guideranno nel nostro mondo. Non aver paura dei calli sulle mani, perchè anche loro saranno importanti e saranno fondamentali per una presa forte e sicura. …

The characters move in a musical setting which is perhaps less revolutionary than Pergolesi's had been, the scenic action moves at a slower pace, with longer arias. Pergolesi's means are certainly more limited than Paisiello's, his vocal styles more essential and specific — his Uberto is more desperate and his Serpina craftier, while in Paisiello's opera the characters take on a more worldly and fugy-rounded form. In Paisiello's work Uberto and Serpina sing with greater awareness of the fact that they are actors in an institutionalised theatre, and their arias could at times belong to a different text, as for example the splendid 'Donne Vaghe' with which Serpina opens the second act or the delightful duet 'Donne infeste', whose music sounds more like an act of love than the celebration of deep disagreement. These two episodes, whose pertinence to the development of the plot is quite questionable, do not appear in Pergolesi's text.

ATMA Classique presents the debut recording of Le Nouvel Opéra, a Montreal-based company under the artistic leadership of soprano Suzie LeBlanc, with music director Alexander Weimann and stage director Marie Nathalie Lacoursiere. Their inaugural recording features Antonio Caldara’s oratorio La Conversione di Clodoveo, Rè di Francia — a work the company first performed in Potsdam in 2005, celebrating the the milennial anniversary of Christianity in Germany.