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Hello and a warm welcome to Vienna's Schonbrunn Palace
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for the annual Summer Nights Concert
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given by the Vienna Philharmonic,
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this year led by the Russian maestro
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Valery Gergiev. APPLAUSE
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All of this evening's music has an Italian flavour,
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including favourites by Puccini, Verdi, Cilea and Mascagni.
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First up, Rossini, and his William Tell Overture.
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APPLAUSE Rossini's William Tell Overture.
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Valery Gergiev and the Vienna Philharmonic setting this evening
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off to a galloping start.
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Another overture now, this one by Verdi,
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to his epic opera, La Forza Del Destino,
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The Force Of Destiny.
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APPLAUSE Verdi's overture to his opera
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The Force Of Destiny.
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The Vienna Philharmonic and Valery Gergiev this evening celebrating
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their 150th performance together -
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a partnership both clearly enjoy.
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Gergiev is also music director of the Mariinsky Theatre
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in St Petersburg.
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And it was there in the early '90s that a student singer,
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who once worked backstage as a cleaner, auditioned for him.
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Well, today Anna Netrebko is a global superstar,
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APPLAUSE and she joins us now.
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She'll sing an aria from Cilea's opera Adriana Lecouvreur,
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in which the famous actress Adriana responds to a shower
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of compliments with the words,
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"I am just the servant of the author's genius.
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"He pours words into my soul."
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Ecco, respiro appena
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Io son l'umile ancella
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del genio creator
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Ei m'offre la favella
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Io la diffondo ai cor
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Del verso io son l'accento
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L'eco del dramma uman
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Il fragile strumento
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Vassallo della man
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Mite, gioconda, atroce
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Mi chiamo Fedelta
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Un soffio e la mia voce
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Un soffio e la mia voce
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che al novo
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di
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morra. #
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APPLAUSE
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Just beautiful. That was Lo son l'umile ancella,
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from Cilea's opera Adriana Lecouvreur,
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performed by the transcendent Anna Netrebko.
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And we will be hearing more from Anna Netrebko later
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in the concert, when she returns to sing arias
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by Puccini and Leoncavallo.
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With the premiere in 1890 of Cavalleria rusticana
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by Mascagni,
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a new movement in opera was born called verismo, or realism.
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It's a tale of bloodthirsty revenge set amongst the ordinary
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people of contemporary Sicily -
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a far cry from the political or courtly subjects
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that grand opera usually featured.
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And in the midst of its turbulent drama is this intermezzo.
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APPLAUSE
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The glorious intermezzo from Mascagni's opera
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Cavalleria rusticana.
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And some pictures there, too, of the magnificent fountains
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in the Schonbrunn Palace gardens.
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More opera now, and Verdi's great Egyptian fantasy Aida,
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which he composed to inaugurate Cairo's new opera house in 1871.
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With the Ethiopians conquered,
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General Radames returns to Egypt bearing the spoils of war.
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This is his Triumphal March.
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APPLAUSE
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Oh, stirring stuff.
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The Triumphal March and Ballet Music from Verdi's opera Aida.
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The Vienna Philharmonic, under the baton of Valery Gergiev.
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Enormous crowds at the Schonbrunn Palace
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for this annual event.
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This year more than ever -
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well over 100,000 people filling the gardens.
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But on now with music from Tchaikovsky's ballet Swan Lake.
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We're at a ball to celebrate Prince Siegfried's coming of age,
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and he must choose a bride from the six eligible princesses,
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who present their national dances as entertainment.
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This is the Neapolitan Dance.
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APPLAUSE
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The Neapolitan Dance from Swan Lake by Tchaikovsky.
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Now for a different take on Italy by a Russian composer -
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Prokofiev's forbidding, fate-laden score to his ballet
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Romeo and Juliet.
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It's music that encapsulates not only the intimate mystery
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of young love,
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but also the malevolence and power of two warring families.
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APPLAUSE
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The Dance of the Knights from Prokofiev's ballet suite
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Romeo and Juliet.
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More doomed love now, but this time we're in Rome,
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where Puccini set his great opera Tosca.
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The chief of police, Baron Scarpia, has summoned the diva
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Floria Tosca to his apartments, where her lover is held prisoner.
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Scarpia offers her a bitter choice -
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"I'll free your lover, but only if you submit to my lust."
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Out of this impossible situation comes this soul-searching aria,
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Vissi d'arte.
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She sings, "I have lived for art, I have lived for love.
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"Why, oh, Lord, do you reward me thus?"
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Vissi d'arte
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Vissi d'amore
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Non feci mai male ad anima viva
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Con man furtiva
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quante miserie conobbi aiutai
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Sempre con fe sincera
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la mia preghiera
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ai santi tabernacoli sali
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Sempre con fe sincera
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diedi fiori agl'altar
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Nell'ora del dolore
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Perche, perche, Signore
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Perche me ne rimuneri cosi?
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Diedi gioielli della Madonna al manto
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e diedi il canto agli astri, al ciel
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che ne ridean piu belli
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Nell'ora del dolor
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perche, perche, Signor,
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Ah
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Perche me ne rimuneri cosi? #
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APPLAUSE
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Vissi d'arte, Puccini's show-stopper of an aria from Tosca.
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Anna Netrebko without doubt one of today's great divas,
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singing the role of opera's most famous one.
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Amazing that even in front of such a vast crowd as this,
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she can create that sense of intimacy.
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More Puccini now, and the intermezzo from his third opera, Manon Lescaut.
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Puccini was enthralled by the story of the young girl Manon,
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torn between a life of luxury
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and her true love for the poet Des Grieux.
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This intermezzo conjures up all the passion of their love
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and the hopelessness of their fate.
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APPLAUSE
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Puccini's intermezzo from his opera, Manon Lescaut,
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performed by the Vienna Philharmonic,
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conducted by Valery Gergiev.
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The tale of Manon struck a deep chord with Puccini -
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he said, "I love those souls who feel like we do,
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"laughing with joy one minute, weeping with despair the next."
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The opera Pagliacci, or Clowns, by Leoncavallo,
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is set amongst a troupe of travelling entertainers.
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It's an opera within an opera, where art and life intersect,
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and not without a good dose of tragedy.
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In this aria, Stridono lassu, sung by Anna Netrebko,
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the character Nedda reflects on how nothing can ever stop a bird
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from flying freely up to the clouds -
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not wind, rain, nor lightning.
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Stridono lassu
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liberamente lanciati a vol
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a vol come frecce, gli augel
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Disfidano le nubi e sol cocente
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e vanno, e vanno per le vie del ciel.
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Lasciateli vagar per l'atmosfera
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questi assetati d'azzurro e di splendor
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seguono anch'essai un sogno, una chimera
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e vanno, e vanno fra le nubi d'or
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Che incalzi il vento e latri la tempesta
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con l'ali aperte san tutto sfidar
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la pioggia, I lampi, nulla mai li arresta
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e vanno, e vanno, sugli abissi e il mar
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Vanno laggiu verso un paese strano
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che sognan forse e che cercano invan
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Ma I boemi del ciel seguon l'arcano
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poter che il sospinge, e van
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E van! e van! e van! #
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APPLAUSE
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Anna Netrebko with a characteristic carefree flourish
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ending Stridono lassu by Leoncavallo.
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Hugely popular with audiences throughout the world,
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Anna Netrebko is an artist whose impact stretches
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far beyond the confines of the opera house.
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You may well have seen her performing at the opening ceremony of the World Cup,
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or indeed her name amongst Time magazine's list
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of the world's 100 most influential people -
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the first classical artist ever to be included.
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But on with the show, and another Puccini favourite,
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from his comedy Gianni Schicchi - O mio babbino caro.
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Lauretta appeals to her father to help her boyfriend.
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"Oh, my dearest father, I like him so much, he is handsome,
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"I want to buy the wedding ring."
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O mio babbino caro
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mi piace e bello, bello
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vo'andare in Porta Rossa
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a comperar l'anello
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Si, si, ci voglio andare!
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e se l'amassi indarno
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andrei sul Ponte Vecchio,
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ma per buttarmi in Arno
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Mi struggo e mi tormento!
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O Dio
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vorrei morir!
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Babbo, pieta, pieta
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Babbo, pieta, pieta. #
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APPLAUSE
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O mio babbino caro -
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Puccini's timeless melody, beautifully delivered.
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Anna Netrebko giving us a taste there, too,
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of her extraordinary breath control.
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What a treat.
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From one Florentine scene to another now, with a march written
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by the Czech composer Julius Fucik.
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Born in Prague in 1872, Fucik was to become one of the most
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prolific composers of his generation,
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with something like 400 works to his name, including band marches
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and waltzes and polkas, church masses, even operettas.
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This was a time when composers were experimenting
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with foreign musical styles, and the Florentiner Marsch,
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which we'll hear now, has all the vivid colours and elegance
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and bonhomie of that beautiful city.
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APPLAUSE
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Florentiner Marsch by Julius Fucik.
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Very much at home with the Vienna Philharmonic
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and the crowds here at the Schonbrunn Palace.
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Time, I think, for just one more foot-tapping favourite,
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and traditionally the final piece of the concert,
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the great waltz by Johann Strauss II -
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Wiener Blut - Viennese Blood.
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APPLAUSE
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Wiener Blut by Johann Strauss II,
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performed by the Vienna Philharmonic
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and conducted by the great Russian maestro, Valery Gergiev.
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Wonderful to think that Wiener Blut was premiered by this orchestra,
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conducted by Strauss himself.
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That was in 1873,
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and I think we can safely say they haven't looked back since.
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Sadly, that brings this annual Summer Nights Concert
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from Vienna's Schonbrunn Palace to an end.
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I do hope you've enjoyed it.
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From me, Katie Derham, goodbye.
17902
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