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Composer: Carl Orff
Artists: Regina Werner (soprano), Eberhard Büchner tenor, Rundfunk-Sinfonie Orchester Leipzig,
Herbert Kegel (conductor), Rundfunkchor Leipzig, Horst Neumann (concertmaster)
Orff’s best-known composition is more frequently encountered in the concert hall than in the opera house, but it was originally conceived for the stage, where it became the first panel of a theatrical triptych which references the lavish and exotic tableaux of Renaissance entertainments at ducal palaces in Mantova, Florence and Rome. The common theme of the trilogy’s diverse parts is the triumph of love, wherever it is encountered: in the beer-soaked medieval taverns of Carmina burana, the urgent Classical poetry of Catullus or the more refined and elliptical reflections on Eros by Sappho and Euripides.
Over the 15 years of its composition, the soundworld of Trionfi evolved, from the crashing gongs and brass of Carmina burana to an emphasis on percussive instruments – piano, drums, xylophones prominent among them – in the more direct, less lyrically effusive setting of Trionfo di Afrodite. Throughout, however, the influence of Stravinsky is palpable in word-setting, harmony and instrumentation, and in particular his vernacular masterpiece Les Noces: indeed Trionfo di Afrodite also depicts a wedding.
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