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On 24 December 1906, Reginald Fessenden, a Canadian inventor and radio pioneer, broadcast the first AM radio program, which started with a phonograph record of "Ombra mai fu ". [ 4 ] [ 5 ] A 1980s electronic mix instrumental version of the aria can be heard in the cherry blossom viewing scene and forms a central part of Kon Ichikawa 's 1983 ...
The prelude did not appear in the first edition published by John Walsh [2] and was taken from Handel's keyboard suite HWV 428. HWV 561 is another version of the prelude. [citation needed] 2 Allemande: 108 ii, 81 iv/5, 29 3 Courante: 109 ii, 82 iv/5, 30 4 Sarabande: 110 ii, 82 iv/5, 31
The King of Persia, Serse, gives effusive, loving thanks to the plane tree for furnishing him with shade (Arioso: "Ombra mai fu"). His brother Arsamene, with his buffoonish servant Elviro, enters, looking for Arsamene's sweetheart Romilda. They stop as they hear her singing from the summerhouse. Romilda is making gentle fun of Serse with her song.
Bononcini's Xerse was in turn adapted by Handel in his Serse with a third (and best known) version of "Ombra mai fu". Bononcini's song "Vado ben spesso cangiando loco" was used by Franz Liszt in his suite for piano Années de pèlerinage : Deuxième année: Italie under the erroneous title " Canzonetta del Salvator Rosa ".
Revised and expanded into three sections in March 1737, the work also had its name adjusted. Handel was by that time living in England and producing seasons of English-language oratorio and Italian opera. This version premiered on March 23, received three more performances the next month, and was revived on one date in 1739.
The aria "Ombra mai fù" (originally written for the soprano castrato Caffarelli) from George Frideric Handel's Serse (1738) gained popularity in the 19th century, and proved enduringly popular, being adapted to many voice types and as a popular instrumental piece ("Handel's Largo").
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