Paisiello: La Serva Padrona

Giovanni Paisiello's “La Serva Padrona: Part 1 - Ouverture”, performed by Münchner Rundfunkorchester, Hans Ludwig Hirsch, was released in 1997. Clear orchestral momentum gives the number a firm frame for opening titles, period narrative and stage transition.

Performed by Münchner Rundfunkorchester, Hans Ludwig Hirsch, Petteri Salomaa, this 1997 recording presents Giovanni Paisiello's “La Serva Padrona: Part 1 - No. 1 - Aria "Aspettare e non venire"(Uberto)”. The focused solo line suits a character portrait, intimate drama and period theatre.

The 1997 recording of Giovanni Paisiello's “La Serva Padrona: Part 1 - No. 1a - Recitativo "Quest è per me disgrazia"(Uberto)” features Münchner Rundfunkorchester, Hans Ludwig Hirsch, Petteri Salomaa. Speech-led vocal phrasing gives the number a clear dramatic function for dialogue and theatrical transition.

Giovanni Paisiello's “La Serva Padrona: Part 1 - No. 2 - Duetto "Ma quando la finisci"(Serpina, Uberto)”, performed by Münchner Rundfunkorchester, Hans Ludwig Hirsch, Petteri Salomaa, Jeanne Marie Bima, was released in 1997. The exchange between two vocal parts suits character interaction, relationship drama and staged dialogue.

Performed by Münchner Rundfunkorchester, Hans Ludwig Hirsch, Petteri Salomaa, Jeanne Marie Bima, this 1997 recording presents Giovanni Paisiello's “La Serva Padrona: Part 1 - No. 2a - Recitativo "Olà, dove si sta?"(Serpina, Uberto)”. Speech-led vocal phrasing gives the number a clear dramatic function for dialogue and theatrical transition.

The 1997 recording of Giovanni Paisiello's “La Serva Padrona: Part 1 - No. 3 - Aria "Sempre in contrasti..."(Uberto)” features Münchner Rundfunkorchester, Hans Ludwig Hirsch, Petteri Salomaa. The focused solo line suits a character portrait, intimate drama and period theatre.

Giovanni Paisiello's “La Serva Padrona: Part 1 - No. 3a - Recitativo "In somma delle somme per attendere"(Serpina, Uberto)”, performed by Münchner Rundfunkorchester, Hans Ludwig Hirsch, Petteri Salomaa, Jeanne Marie Bima, was released in 1997. Speech-led vocal phrasing gives the number a clear dramatic function for dialogue and theatrical transition.

Performed by Münchner Rundfunkorchester, Hans Ludwig Hirsch, Jeanne Marie Bima, this 1997 recording presents Giovanni Paisiello's “La Serva Padrona: Part 1 - No. 4 - Aria "Stizzoso, mio stizzoso"(Serpina)”. The focused solo line suits a character portrait, intimate drama and period theatre.

The 1997 recording of Giovanni Paisiello's “La Serva Padrona: Part 1 - No. 4a - Recitativo "Benissimo"(Serpina, Urberto)” features Münchner Rundfunkorchester, Hans Ludwig Hirsch, Petteri Salomaa, Jeanne Marie Bima. Speech-led vocal phrasing gives the number a clear dramatic function for dialogue and theatrical transition.

Giovanni Paisiello's “La Serva Padrona: Part 1 - No. 5 - Duetto "Lo conosco a quegli occhietti"(Serpina, Uberto)”, performed by Münchner Rundfunkorchester, Hans Ludwig Hirsch, Petteri Salomaa, Jeanne Marie Bima, was released in 1997. The exchange between two vocal parts suits character interaction, relationship drama and staged dialogue.

Performed by Münchner Rundfunkorchester, Hans Ludwig Hirsch, Jeanne Marie Bima, this 1997 recording presents Giovanni Paisiello's “La Serva Padrona: Part 2 - No. 6 - Aria "Donne vaghe i studi nostri..."(Serpina)”. The focused solo line suits a character portrait, intimate drama and period theatre.

The 1997 recording of Giovanni Paisiello's “La Serva Padrona: Part 2 - No. 6a - Recitativo "Or che fatto ti sei dalla mia"(Serpina)” features Münchner Rundfunkorchester, Hans Ludwig Hirsch, Jeanne Marie Bima. Speech-led vocal phrasing gives the number a clear dramatic function for dialogue and theatrical transition.

Giovanni Paisiello's “La Serva Padrona: Part 2 - No. 7 - Duetto "Donne infeste all´altrui bene"(Serpina, Uberto)”, performed by Münchner Rundfunkorchester, Hans Ludwig Hirsch, Petteri Salomaa, Jeanne Marie Bima, was released in 1997. The exchange between two vocal parts suits character interaction, relationship drama and staged dialogue.

Performed by Münchner Rundfunkorchester, Hans Ludwig Hirsch, Petteri Salomaa, Jeanne Marie Bima, this 1997 recording presents Giovanni Paisiello's “La Serva Padrona: Part 2 - No. 7a - Recitativo "Io crederei, che la mia serva adesso"(Serpina, Urbeto)”. Speech-led vocal phrasing gives the number a clear dramatic function for dialogue and theatrical transition.

The 1997 recording of Giovanni Paisiello's “La Serva Padrona: Part 2 - No. 8 - Aria "A Serpina penserete..."(Serpina)” features Münchner Rundfunkorchester, Hans Ludwig Hirsch, Jeanne Marie Bima. The focused solo line suits a character portrait, intimate drama and period theatre.

Giovanni Paisiello's “La Serva Padrona: Part 2 - No. 8a - Recitativo "Ah! Quanto mi sa male"(Serpina, Urberto)”, performed by Münchner Rundfunkorchester, Hans Ludwig Hirsch, Petteri Salomaa, Jeanne Marie Bima, was released in 1997. Speech-led vocal phrasing gives the number a clear dramatic function for dialogue and theatrical transition.

Performed by Münchner Rundfunkorchester, Hans Ludwig Hirsch, Petteri Salomaa, this 1997 recording presents Giovanni Paisiello's “La Serva Padrona: Part 2 - No. 9 - Aria "Son imbrogliato io già"(Uberto)”. The focused solo line suits a character portrait, intimate drama and period theatre.

The 1997 recording of Giovanni Paisiello's “La Serva Padrona: Part 2 - No. 9a - Recitativi "Favorisca signor...passi"(Serpina, Uberto)” features Münchner Rundfunkorchester, Hans Ludwig Hirsch, Petteri Salomaa, Jeanne Marie Bima. Speech-led vocal phrasing gives the number a clear dramatic function for dialogue and theatrical transition.

Giovanni Paisiello's “La Serva Padrona: Part 2 - No. 10 - Duetto finale "Contento tu sarai"(Serpina, Uberto)”, performed by Münchner Rundfunkorchester, Hans Ludwig Hirsch, Petteri Salomaa, Jeanne Marie Bima, was released in 1997. The paired vocal lines give the closing number a focused dramatic profile for relationship drama and operatic resolution.