Castello dos Templarios em Thomar, https://www.facebook.com/watch?v=1755128139125689

 

Galeria de Homens úteis, página 97

https://app.docvirt.com/realgabobrasraras/pageid/28528

https://app.docvirt.com/realgabobrasraras/pageid/28528

https://app.docvirt.com/demo/pageid/3613

https://app.docvirt.com/realgabobrasraras/pageid/28340

https://purl.pt/96/1/obras/ilustracao/main.html

https://app.docvirt.com/realgabobrasraras/pageid/28524

https://www.facebook.com/reel/2083081038985572 

 

Anastasia Robinson

 

grafik 

https://digital.onb.ac.at/rep/osd/?10E0B0E5 

https://digital.onb.ac.at/rep/osd/?10E0B10B 

https://digital.onb.ac.at/rep/osd/?10E0B114 

 

 https://en.wikipedia.org/wiki/Anastasia_Robinson

 https://archive.li/gJVCJ

https://archive.org/details/17778571998888bsb-11384147/page/300/mode/1up?q=Thomas 

https://archive.org/stream/17778571998888bsb-11384147/17778571998888bsb11384147_djvu.txt 

BOOK IV. Guwaok., J. 


R. Handel continued to fulfil his engagements with the direc 

tors, until the year 1726, when, having compofed a new opera, 
entitled Aleffandro, and engaged a new finger, namely Signora Fau- 
ftina, he laid the foundation of a difpute, that terminated in the ruin 
of the whole undertaking. 

But before we proceed to relate the circumftances of this event, it 
may be obferved that it feemed to be no more than the neceflary 
confequence of that extravagant applaufe which the opera au- 
dience had fhewn itfelf ever ready to beftow on their favourites among 
the fingers. Senefino was one of the firft that difcovered this bene- 
volent propenfity in the Englifh, and he laboured by a vigo~ 
rous exertion of all his powers, to cultivate and improve that good 
opinion which had been conceived of him on his firft appearance 
among us; and it was not long before he began to feel his own im- 
portance. Handel was not a proud man, but he was capricious : In 
his comparifon of the merits of a compofer and’ thofe of a finger, he 
eftimated the latter at a very low rate, and affected to treat Senefino 
with a degree of indifference that the other could but ill brook; in 
fhort, they were upon very ill terms almoft from the time of their 


firft coming together ; but in a year or two after Fauftina’s arrival, 
the 


Chap.1: AND PRACTICE OF MUSIC. 301 


the flame of civil difcord burft forth, and all was diforder and confu- 
fion. The two women were foon fenfible, from the applaufe beftow- 
ed upon Senefino, that the favour of an Englith audience was worth 
courting ; and in proportion as it appeared defirable, each of them 
began to grow jealous of the other: Senefino had no rival, but each 
of the women was poffeffed of talents fufficient to engage a very 
ftrong party. To render the hiftory of this conteft a ee will 
require a fhort digreflion, 


‘ MRS.ANAS TASIA ROBINSON. 
AFTERWARDS COUNTESS OF PETERBOROUGH. 


Mrs. ANASTASIA RoBINSON was defcended from a good fa- 
mily in the county of Leicefter; her father was brought up to the 
profeffion of a portrait painter, and having, to perfect himfelf in 

Vou. V. Mmm his 


302 HISTORY OF THE SCIENCE BookIV. 


his ftudies, travelled to Rome, he returned to England, and fet- 


tling in London, married a woman of fome fortune, by whom he 
had one only child, the fubje&t of the prefent article. In the in- 
fancy of this his daughter, Mr. Robinfon had the misfortune to lofe 
his wife. By a fecond marriage with a young gentlewoman of the 
name of Lane, he had another daughter, who was baptized Margaret. 
Mr. Robinfon had for fome time laboured under a diforder in his 
eyes, which terminated in the lofs of his fight, and deprived him of 
the means of fupporting himfelf and his family by the exercife of his 
pencil. Under the heavy preflure of this calamity, he and: his 
wife reflecting on their inability to make a provifion for them, re- 
folved to bring up both the children to a profeflion : Anaftafia, the 


elder, having difcovered in her childhood an ear for mufic, was de- - 


figned by them for a finger; and other motives, equally cogent at 
the time, determined them to make of Peggy a miniature painter: 
The ftory of this younger daughter is but fhort, and is, againft the 
order of precedence, here inferted, to prevent a digreffion in that 
which is more to our purpofe, the hiftory of her fifter. 

The fecond Mrs. Robinfon was poffefled of a fmall income, which, 
under the direction of her hufband, was appropriated to the inftruétion 
of the two children in the profeffions they were feverally intended for; 
but all the endeavours of the parents in favour of the younger were in 
vain; fhe flighted her ftudies, and, deviating into her fifter’s track, 
would learn nothing but mufic: Yielding therefore to this {trong 
propenfity, Mr. Robinfon placed her under Bononcini, and after- 
wards fent her to Paris, where, being committed to the tuition of 
Rameau, and having a moft delicate ear, and great powers of execu- 
‘tion, fhe attained to fuch a degree of perfection in finging, as fether 
upon a level with the moft celebrated performers of the time; but 
having a natural bafhfulnefs, which fhe could never overcome, and 
being befides lower in ftature than the loweft of her fex, the could 
never be prevailed on to become a public finger, but {pent her life 
in obf{curity. On the other hand, Anaftafia, who had been com- 
mitted to the care of Dr. Croft, but was rather lefs indebted to na- 
ture for the gift of a voice than her fitter, profecuted her ftudies with 
the utmoft induftry. With the affiftance of her father the became 
fuch a miftrefs of the Italian language, that fhe was able to converfe 
in it, and to repeat with the utmoft propriety paflages from the poets. 
To remedy fome defeats in her finging, to mend if poflible her thake, 

which 


OR OE ee ae ee 


ee Ba i eS | 


ee ee 


Chap. 1. .AND PRACTICE OF MUSIC. 403 


which was not altogether correct, and, above all, to make the Italian 
modulation familiar to her, the affiftance of Sandoni, a celebrated 
teacher *, was called in ; but all that could be done by him, and the 
lady called the Baronefs, a finger in the opera, then greatly careffed, 
in thefe refpects was but little ; fhe had a fine voice, and an extenfive 
compafs, but fhe wanted a nice and difcriminating ear to make her 
a perfect finger. Her firft public appearance was in the concerts 
performed at that time in York-buildings, and at other places, in 
which fhe fung, and generally accompanied herfelf on the harpfi- 
chord. Her father had carefully attended to her education, and had 
exerted his utmoft efforts in the improvement of her mind ; the ad- 
vantages fhe derived from thefe inftances of his affe€tion, added to 
her own good fenfe and amiable qualities, confifting in a ftritly vir- 
tuous difpofition, a conduc full of refpect to her fuperiors, and 
an undiffembled courtefy and affability to others, mixed with a chear- 
fulnefs that diffufed itfelf to all around her, were vifible in the re- 
ception fhe met with from the public, which was of fuch a kind, as 
feemed to enfure her fuccefs in whatever fhe undertook. En- 
couraged by the favour of the public to his daughter, and more 
efpecially by the countenance and bounty of fome perfons of high 
rank of her own fex, Mr. Robinfon took a houfe in Golden-fquare, 
and had concerts, and alfo converfations on certain days in every 
week, which were the refort of all who had any pretenfions to- 
politenefs. 

At the time when Mrs. Tofts and Margarita retired from the 
ftage, {carce any female fingers worth hearing were left; Mrs. 
Linfey, Mrs. Crofs, Signora Ifabella Girardeau, and the Baronefs 
abovementioned, are the only names that we meet with, except the 
two former, and Signora Maria Gallia, who-fung the part of Rofa- 
mond in Mr. Addifon’s opera of that name, between the time of the 
firft introdu@ion of the opera and the year 1718. Under thefe fa- 
vourable circumftances, and the feveral others above enumerated, Mrs. 
Robinfon was prevailed on to appear on the opera ftage: The firit 
opera fhe fung in was that of Narciffus mentioned in a preceding page 
to have been compofed by Domenico Scarlatti, and brought on the 
ftage by Rofeingrave; in this fhe fung the part of Echo with great 
applaufe. Inthe fucceeding operas of Mutius Scevola, Crifpus, Gri- 


* Pier-Giufeppe Sandoni ; he publifhed, and dedicated to the countefs of Pembroke, a: 
work of his entitled * Cantate da Camera e Sonate per il Cembalo.’ 
felda,, 

margherita-durastanti, Margareth,

 

 Eu acho que estou confundindo o Handel com outro músico..isso que dá não anotar. Tinha foto e tudo.

.

PKP ACHEI O NOME DELA NA OUTRA REENCARNAÇÃO. NÉ POSSÍVEL.

PROCUREM VOCÊS.

AKÁ, KÁ, KÁ , KÁ, KÁ,

novidade na outra reencarnação ela tinha o mesmo nome, puts. ká,rá,rá. Tu heim aí em cima me explica como é que você consegue fazer isso? 

 http://smc.centerblog.net/2035-margherita-durastanti

no site acima está errado o nome da pessoa é esta Portrait of Élisabeth Duparc († 1778) no retrato.

 

https://www.rijksmuseum.nl/nl/content-zoeken?q=Durastanti+ 

???

https://www.digitale-sammlungen.de/de/view/bsb10278493_00007_u001?page=28,29&q=durastanti 

https://www.digitale-sammlungen.de/de/view/bsb00016911?q=durastanti&page=13, 

https://www.digitale-sammlungen.de/de/view/bsb10223867?q=durastanti&page=281 

https://www.digitale-sammlungen.de/de/view/bsb10527084?q=durastanti&page=270,271 

https://www.digitale-sammlungen.de/de/view/bsb10527088?q=durastanti&page=276, 

https://www.digitale-sammlungen.de/de/view/bsb11631377?q=durastanti&page=482,483 

https://www.digitale-sammlungen.de/de/view/bsb11366380?q=durastanti&page=5 

https://www.digitale-sammlungen.de/de/view/bsb10600125?q=durastanti&page=395,

 

oba um jornal de 1733

https://www.digitale-sammlungen.de/de/view/bsb10503682_00641_u001?q=durastanti&page=1 

 ============================================

 

 https://www.digitale-sammlungen.de/de/view/bsb10999245?q=durastanti&page=134,135

 

https://www.digitale-sammlungen.de/de/view/bsb10623247?q=durastanti&page=98, 

https://www.digitale-sammlungen.de/de/view/bsb11384147?q=durastanti&page=278,279 

==========================================

 

https://www.digitale-sammlungen.de/de/view/bsb10278493_00007_u001?page=28,29&q=durastanti

estão neste também

 https://www.digitale-sammlungen.de/de/view/bsb11384147?q=durastanti&page=296

https://www.digitale-sammlungen.de/de/view/bsb10527077?q=durastanti&page=56,57 

=================================================================== 

 

 

aqui um livreto drama para música

Gasparini, Francesco: Il Tartaro nella Cina

Standort

München, Bayerische Staatsbibliothek -- L.eleg.m. 3823

Urheber

Gasparini, Francesco -- (GND: 119011778)

Titel

Il Tartaro nella Cina: Drama per musica

 https://www.digitale-sammlungen.de/de/view/bsb10578651?q=durastanti&page=9

página 07

17 (0009)

na. Sig. Margherita Duraſtanti . 

======================================= 

 

Durastanti research IV: this part of my research takes us to Paris, for my heroine sang the Senesino roles of Ottone and Giulio Cesare there (as apparently neither Senesino nor Handel got the permission to go to Paris).

It was a private performance arranged by Durastanti's husband Avelloni, an art dealer and collector, to take place at the home of renowned colleague and art dealer Pierre Crozat.

There a many open questions. Was it a semi staging? Probably yes. Who directed the orchestra? Surely not Handel's rival Bononcini, but more likely Sandoni. Was the libretto adapted? And if so who did this job? The libretto must have been adapted, as Durastanti sang double roles, that of Ottone and Gismonda, and then Giulio Cesare and Sesto or Cornelia. Donald Burrows, Helen Coffey, John Greenacombe, Anthony Hicks: George Frideric Handel, "Collected Documents", Cambridge, 2015, state that she sang Cornelia besides Cesare (Anastasia Robinson had retired), but it might be a mistake... it is feasible though that the role of Sesto was deleted...so many questions and so few answers.

For now let's imagine Durastanti singing this aria as Giulio Cesare:

 

 

 

ia 

As óperas de George Frideric Handel (Haendel) na Inglaterra e na Itália foram marcadas pela colaboração com grandes cantoras da época, fundamentais para o sucesso de suas obras no barroco. Algumas das mais notáveis incluem: 

• Margherita Durastanti: Foi a primeira grande parceira artística de Handel. Ela estreou a maioria das cantatas de câmara em Roma, interpretou Maria Madalena na oratória A Ressurreição (1708) e protagonizou a ópera Agripina em Veneza.
• Francesca Cuzzoni e Faustina Bordoni: Ambas as famosas sopranos italianas atuaram juntas, pela primeira vez em uma ópera de Handel, em Alessandro (1726). A rivalidade entre elas era famosa e Handel equilibrava a escrita musical para valorizar igualmente ambas.
• Vittoria Tarquini: Outra cantora proeminente que colaborou com Handel.
• Vittoria Tesi e Anna Marchesini: Contraltos que, ao lado de castratis, desempenharam papéis importantes, muitas vezes assumindo papéis masculinos e femininos, evidenciando a versatilidade das vozes femininas profundas no início do século XVIII. 

Essas cantoras, muitas vezes chamadas de primadonas, foram essenciais para o teatro lírico londrino sob a direção de Handel durante o período da Royal Academy of Music. 

Este vídeo explica como Handel equilibrou a escrita musical entre Cuzzoni e Bordoni

https://www.blogger.com/u/2/blog/post/edit/2440002276847656293/4143652253283251862 

 

Opera Ópera

 https://archive.org/details/78_zumleidenbinichauserkoren_328_09/Zum+Leidenbinichauserkoren+-+Regina+Pacinir.+-+Wolfganga.+Mozart.flac

https://archive.org/details/@jakej?and[]=mediatype%3A%22audio%22

https://archive.org/details/@jakej?and[]=mediatype%3A%22audio%22

Toreador Song from Bizet's Carmen Sung by bullfighter Escamillo, the aria describes various situations in the bullring, the cheering of the crowds and the fame that comes with victory.performed here by Kostas Smoriginas

 Sua torrada, eu posso devolver para você,

Señors, señors porque com os soldados

sim, os toureiros podem se dar bem;

Para prazeres, para prazeres,

eles têm as lutas!

O circo está lotado, é um dia de festa!

O circo está cheio de cima a baixo;

Os espectadores, perdendo a cabeça,

Os espectadores chamam uns aos outros

Com muito barulho!

Apóstrofes, gritos e alvoroço

Empurrado para a fúria!

Porque é a festa da coragem!

É a festa das pessoas de coração!

Vamos lá! em guarda!

Vamos lá! vamos! Ah!

(Coro × 2)

Toreador, fique de guarda! Toureiro!

Toureiro!

E pensa bem sim

sonhe enquanto luta

Deixe um olho roxo olhar para você

E o amor espera por você

Toreador, amor, o amor espera por você!

De repente ficamos em silêncio

Ficamos em silêncio ... ah! O que está acontecendo?

Chega de gritos, está na hora!

Chega de gritos, está na hora!

O touro voa

saltando para fora do toril!

Ele se joga! Ele entra, ele bate! ...

um cavalo rola,

conduzindo um picador,

"Ah! Muito bem! Toro!" a multidão grita,

o touro vai ... ele vem ...

ele vem e bate de novo!

Agitando sua banderillas,

cheio de fúria, ele corre!

O circo está cheio de sangue!

Nós fugimos ... cruzamos os portões!

Agora é a sua vez!

Vamos lá! em guarda! vamos! vamos! Ah!

(Coro × 2)

Toreador, fique de guarda! Toureiro!

Toureiro!

E pense bem, sim, pense enquanto luta

Deixe um olho roxo olhar para você

E o amor espera por você

Toreador, amor, o amor espera por você!

Ame! Ame! Ame!

Toreador, Toreador, Toreador!

Votre toast, je peux vous le rendre,

Señors, señors car avec les soldats

oui, les toréros, peuvent s'entendre;

Pour plaisirs, pour plaisirs,

ils ont les combats!

Le cirque est plein, c'est jour de fête!

Le cirque est plein du haut en bas;

Les spectateurs, perdant la tête,

Les spectateurs s'interpellent

À grand fracas!

Apostrophes, cris et tapage

Poussés jusques à la fureur!

Car c'est la fête du courage!

C'est la fête des gens de cœur!

Allons! en garde!

Allons! allons! Ah!

(Refrain ×2)

Toréador, en garde! Toréador!

Toréador!

Et songe bien, oui,

songe en combattant

Qu'un œil noir te regarde,

Et que l'amour t'attend,

Toréador, l'amour, l'amour t'attend!

Tout d'un coup, on fait silence,

On fait silence... ah! que se passe-t-il?

Plus de cris, c'est l'instant!

Plus de cris, c'est l'instant!

Le taureau s'élance

en bondissant hors du toril!

Il s'élance! Il entre, il frappe!...

un cheval roule,

entraînant un picador,

"Ah! Bravo! Toro!" hurle la foule,

le taureau va... il vient...

il vient et frappe encore!

En secouant ses banderilles,

plein de fureur, il court!

Le cirque est plein de sang!

On se sauve... on franchit les grilles!

C'est ton tour maintenant!

Allons! en garde! allons! allons! Ah!

(Refrain ×2)

Toréador, en garde! Toréador!

Toréador!

Et songe bien, oui, songe en combattant

Qu'un œil noir te regarde,

Et que l'amour t'attend,

Toréador, l'amour, l'amour t'attend!

L'amour! L'amour! L'amour!

Toréador, Toréador, Toreador!

aos 2 minutos