Added: 5 years ago
From: uminogurio
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  • Tarare is, no doubt, Salieri's masterpiece. It's a shame that this work is never heard at opera houses. The libretto by Beaumarchais is full of simbolisms and the music of Salieri is really awesome here. Please search and read the Preface for Tarare, written by Beaumarchais, describing the hard impositions he put on Salieri about how the music should be, and what he thinks about what Salieri did.

  • To BARBARAPLOYER333:

    Yes, they were. The Turks were attempting to expand Westward at the time. Rent a copy of "The Adventures Of Baron Munchausen" for further perspective.

  • Thanks for the recommendation!

  • Is it just me, or were opera based upon plots that were related to the Middle-East very in-style at the time? Mozart's "Abduction of the Seraglio" was also based upon a plot that is includes occurrences in the Middle-East, you know...

  • By the second half of the 18th century, the Ottoman Turks were a broken reed as far as military power was concerned. However, high European culture was undergoing a fascination with orientalism, which included a curiosity toward exotic seraglios, Turkish fashions, "oriental despotism," etc...

  • Bien que pour moi Salieri soit un vrai sal*t, c'est beau. Mais pas autant que Mozart! Bizz

    PS: C'est beau le français, hein?^^ hé hé... je suis chauvine! lol

  • Salieri aurait-il écrit d'autres opéras français?

  • Il a ecrit "Les Danaides" aussi.

  • Know you where was to register document and in which period?

    I make one expose on this detail and I would like to show this extract!

  • Thank you for posting this.

  • Beautiful. I didn't know Salieri had composed on french librettos. Or is this a french version on an originally italian one?

  • There are two related operas... this one (Tarare) is French with a libretto by Beaumarchais. Salieri later translated it into Italian with a libretto by DaPonte and changed the name of the opera to Axur.

  • I think these old, great, forgotten composers have been ignored for far too long. Being "better" than Mozart, Bach, or whomever, is hardly the point. No one composes LIKE anyone else. That's the point of all art. Sad that so much beauty is locked up in dusty wardrobes.

  • I agree completely. Salieri sounds OK to me.

  • of course he not is comparable, of course, OF COURSE

  • i have looking for this a long time thanks for posting it

  • Exactly, iaoming.

    And the film "Amadeus" completed the killing of this great Italian composer.

  • Nonsense. Without the movie sparking interest in Salieri he would be totally forgotten. Everyone understands that the film is fictional; now they're curious: who was this Salieri, and what was he really like? Now if someone could do the same for Meyerbeer ...

  • Well then, thank God for the movie. Now let's also try to remember Clementi, Paisiello, and Meyerbeer.

  • @gspaulsson

    Dear gspaulsson, Antonio Salieri was never forgotten, especially in the homeland. In other countries he became a victim of that slander who is a basis of "Amadeus": it was born in lifetime of Salieri, in Russia, for example, it was extended by Pushkin, and, certainly, many asked a question: unless it is possible to play music of Mozart's murderer?

  • Salieri was a very good composer. I know many overtoures from Operas and other works and he had creativity. Of course he was not comparable with Mozart, Bach etc. but he was very good.

  • I actually do compare Salieri with Mozart. Many of Salieri's later operas (e.g. the ones written around the time or after Mozart's death in 1791) have lots of good things in them. "Tarare" was revolutionary (you can see the finale to the Italian version "Axur" in the film "Amadeus.") His other operas like "Cesare in Farmacusa" really bridge the gap between Mozart and Beethoven. I'm REALLY glad see his works being revived thanks to Cecilia Bartoli et al.

  • Very intersting. He seems to have kept most of the choir scenes when he wrote Axur.

  • There is some outstanding stuff in this opera..'Ah, Povero Calbigi'in Act III is a gem.

  • Obrigado.

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