'Misero' by tenor Ed Lyon

Eliogabalo, the Baroque opera of this season in Dutch National Opera & Ballet, is the last surviving opera by the Venetian composer Francesco Cavalli. Listen to the aria 'Misero' by tenor Ed Lyon. More: bit.ly/YT-elio
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[@SopranoLili]

Love Ed Lyon. Seriously underrated tenor.

[@markbailes4475]

How could anyone not like this?

[@Meinzul]

Bravo! Ed Lyon bella voz de tenor , bella y mágica la musica de Francesco Cavalli con la Capella Mediterranea Orchestre conducida por Leonardo García Alarcón . Bravi tutti!!

[@julienlhermite_tenor]

Bravo! Absolument magnifique

[@errr8564]

Прекрасная опера. Прекрасные исполнители.

[@giancarloarnaboldi9544]

Davvero bravissimo!

[@talvela100]

Wow!

[@linkaiwang1451]

Bellissima esecuzione

[@Watcake]

This is sick!

[@sarma2306]

Misero così va che fede t'adoro traditrice beltà Infelice che fo Stolto non m'avvisai che con beltà fè non si trova mai. Languidi miei sospiri uscite pur ahime così d'aspro martir si premia la mia fè Stolto non m'avvisai che con beltà fè non si trova mai.

[@aronb1336]

Actually the role of Alessandro was written for a male soprano. I think , it's good to hear a tenor because the leadingrole of Eliogabalo is a soprano too.... Unfortunately, Ed Lyon didn't take part in the DVD which was made of this production....

[@tenor-haute-contre]

It was common for italians during the baroque period to transpose roles ! I’ve seen some transpositions of various degrees, thirds, fourths, fifths and of course in this case an octave lower.

[@aronb1336]

@@tenor-haute-contre the 17th century composers did transpositions regulary, depending on new singers and voice types. In "la calisto " , the role of Endimione was sung first by alto and later on a fith or fourth higher by a soprano. I think, Cavalli would have been content with his Allesandro , sung by a tenor... The french never did it, I think...maybe, voice types weren't as much established as in italy. ..exept for the" haute-contre", of course ;)

[@tenor-haute-contre]

​@@aronb1336 The thing about Italian opera is that it quickly became a collection of aria/recitatives, beginning with the generation of Pallavicino, Ziani, &c... So I guess they just had it easier when it comes to transposition since what mattered most honestly was people singing some tunes on stage. Plus, they were more rooted in extravaganza and unrealistic caricatures than the French, who for a long ass time were way more rigid on role/voice type correlation: You're Haute-contre? Okay sing the hero, you, the Basse-taille (one major counter example that I've found is in Pirame & Thisbé by Rebel and Francoeur, with the vengeful Ninus, an occasionally screamy Haute-contre, and the passive hero Pirame a Basse-taille).

[@רותחזנוב]

who's the composer? and the libretist?

[@DutchNatOperaBallet]

The composer is Francesco Cavalli