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  • Un'aura Amorosa, From "Così Fan Tutte" (Wolfgang A. Mozart)

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    Hayden Turner
    96 visualizzazioni5 pagine
    Così fan tutte (Women are Like That) 1790 music: Wolfgang A. Mozart libretto: Lorenzo da Ponte Un'aura amorosa Act I setting: Naples, the 18th Century; a House shared by the sisters Fiordiligi & Dorabella character: Ferrando Ferrando & Guglielmo, young soldiers, are disguised as Albanians, having consented to go along with a plot devised by their friend Don Alfonso to prove their fiances can be tempted into faithlessness. Ferrando, after the first chapter in this deception, remains in the game

    Titolo originale

    Un'aura amorosa, from "Così fan tutte" (Wolfgang A. Mozart)

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    © © All Rights Reserved

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    Così fan tutte (Women are Like That) 1790 music: Wolfgang A. Mozart libretto: Lorenzo da Ponte Un'aura amorosa Act I setting: Naples, the 18th Century; a House shared by the sisters Fiordiligi & Dorabella character: Ferrando Ferrando & Guglielmo, young soldiers, are disguised as Albanians, having consented to go along with a plot devised by their friend Don Alfonso to prove their fiances can be tempted into faithlessness. Ferrando, after the first chapter in this deception, remains in the game

    Copyright:

    © All Rights Reserved
    Scarica in formato PDF, TXT o leggi online su Scribd
    Segnala contenuti inappropriati
    96 visualizzazioni5 pagine

    Un'aura Amorosa, From "Così Fan Tutte" (Wolfgang A. Mozart)

    Caricato da

    Hayden Turner
    Così fan tutte (Women are Like That) 1790 music: Wolfgang A. Mozart libretto: Lorenzo da Ponte Un'aura amorosa Act I setting: Naples, the 18th Century; a House shared by the sisters Fiordiligi & Dorabella character: Ferrando Ferrando & Guglielmo, young soldiers, are disguised as Albanians, having consented to go along with a plot devised by their friend Don Alfonso to prove their fiances can be tempted into faithlessness. Ferrando, after the first chapter in this deception, remains in the game

    Copyright:

    © All Rights Reserved
    Scarica in formato PDF, TXT o leggi online su Scribd
    Segnala contenuti inappropriati
    di 5

    Un'aura amorosa

    from "Così fan tutte"

    Lorenzo Da Ponte Wolfgang A. Mozart

      Ferrando:               
         
    Adante cantabile

        


      
    Un' au ra a mo ro sa del no stro te

              
         
         
       

       

            

              
                  

    5

     
    3


    so ro un dol ce ri sto ro al cor por ge

     
                  
         
    3

       
     
      
            
     

            
               
     
    9

       



    rà. Un' au ra a mo ro sa del no stro te

    
                   
     

       
              
                
    2

            
       
    13

       


    3
    so ro un dol ce ri sto ro al cor por ge

               
          
        

      

           

          

               
       
     
    17


    rà, un dol ce ri sto

        
                          
        

        
            
    cresc. 

         
             
    21

     


    
    ro al cor por ge rà... al

          
      

     
     
            
     
            
                 

        
                 

    24


        
           
    cor che nu dri to da spe me d'a


            
      
         

      
      
                                 
          
            
       
    3

            
      
    27


    3

      


            
    mo re, da spe me d'a mo re, d'un e sca mi


             
          
      
     
                                   
      

                 
              
      
    31

     


    3 3
    3 3 3

        
    glio re bi so gno non ha, d'un e sca mi

        

    

     

        

          
        
    cresc.

     

        
        

      3      
             
    35


      
    glio re bi so gno non ha, bi so gno non

           
         

         
     
     

            
     

          
        

      

    
      
                    
         
    39

      


      
                      
    ha, bi so gno non ha. Un' au ra a mo ro sa del

          
       
                
          
           
         
    4

              
       
    3

     
    44


    3


    no stro te so ro un dol ce ri sto ro al cor por ge

        
                  
    3

           
      
       
               
        

               
                  


     
    49

       

       
    rà. Un' au ra a mo ro sa del no stro te so ro un

               
            
     
      

                      

                              
        

    54

      


    3
    dol ce ri sto ro al cor por ge rà. un dol

                   
                       

      
                

       

        

             



    59

              
                  
    ce ri sto ro al cor po ge

                 
            

           

         
    cresc. 
         
         
    5

    


          
     
    63

     
     
    3 3

      
                       
    rà. al cor por ge rà, al cor por ge

        

                      
             
    
         
    
     
    

    
         

                   
           

    67



             
    rà. un dol ce ri sto ro al cor

              
          
      
       
             


         

       
         


    72

     
        
      
       

       
    por ge rà.

           
          
           
                            
    cresc. 

      


        
         
                    
                
    76

    


                          

          

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