"Il cappello di paglia di Firenze" wordt wel de enige echte opera buffa (Italiaanse komische opera) van de 20ste eeuw genoemd. De componist, Nino Rota, schreef samen met zijn moeder Ernesta het libretto, waarbij hij zich liet inspireren door een komedie van de Fransman Eugène Labiche. Het verhaal beschrijft het krankzinnige lot van Fadinard, die op zijn trouwdag geconfronteerd wordt met een buitengewoon ongelukkig voorval. Zijn paard heeft de strooien hoed van een dame opgegeten en de eigenares en diens minnaar eisen diezelfde dag nog een vergoeding. Fadinard moet bij allerlei personen aankloppen om aan eenzelfde strooien hoed te komen. Hij wordt daarbij gevolgd door het bruiloftsgezelschap (compleet met bruid en schoonvader in te nauwe schoenen), dat nog steeds gelooft dat al dit gezeul van hot naar her bij het feestje hoort. "Il cappello di paglia di Firenze" is een heerlijke opera, vol schitterende melodieën, wat te verwachten valt van de geliefde filmcomponist van Federico Fellini." (bibliotheek.nl)
"Best of all, however, is the Third Symphony (1956‑57), an immaculately crafted four-movement essay in the form with not one wasted note throughout its 18-minute duration, and (once again) boasting a slow movement of genuinely touching eloquence. Its a captivating score which Ive already replayed a number of times and surely merits programming as a refreshing alternative to, say, Prokofievs indestructible Classical Symphony, whose elegant demeanour and freewheeling spirit it perhaps most closely resembles." (Gramophone)
Nino Rota achieved international recognition as a composer of film music and his work in collaboration with Federico Fellini is universally admired. His orchestral music is much less well known but deserves a re-appraisal. The First and Second Symphonies were written simultaneously during the second half of the 1930s, when Rota had already developed his unmistakably tuneful style. Hints of a tenuous, yet well-balanced modernism are discernable, but he avoids extreme stylistic experimentation. Both symphonies display a directness of expression in a neoclassical style that constantly celebrates a landscape in sound. Marzio Conti conducts the Filarmonica ’900 del Teatro Regio di Torino. (chandos.net)
De beroemde muziek van Nino Rota bij Francis Ford Coppola's film uit 1972. Het meeslepende hoofdthema ("The Godfather's Waltz") keert meerdere malen in variaties terug. De Dean Martin-crooner "I Have But One Heart" versterkt de nostalgische feel die de Rota's muziek van zichzelf al heeft.
'Interest in Nino Rota's concert music continues to accelerate. The composer's unwillingness to emulate the musical experimentation rife in the mid-twentieth century made it more difficult for him to be taken seriously in academic circles, a malady that is rapidly fading. (Rota, of course, was most famous for his film scores, notably for the films of Federico Fellini, including La Strada and La Dolce Vita.) This CD contains three première recordings. These works were written over a period of three decades; the Harp Concerto dates from 1947, and the Bassoon Concerto was completed in 1977, two years before Rota's death. From earliest to latest, they show little stylistic evolution, but Rota was one of those composers who knew who he was early on, and he remained comfortable with his identity throughout his career. His music's characteristics include sanity, charm, conservatism, humor, and a dedication to leaving the listener with a good taste in his ears'. (Raymond Tuttle, Classical Net Review).
"This is the soundtrack from the movie of the same name, released in 1974 by ABC, and 1991 on compact disc by MCA. The original score was composed by Nino Rota and conducted by Carmine Coppola, who also provided source music for the film. Rota expands upon two of the three main themes from the first film: "The Godfather Waltz" and "Michael's Theme", while "The Love Theme" from the first film makes a brief appearance during a flashback sequence ("Remember Vito Andolini"). There are several new themes, including one for Kay (Diane Keaton), and two for young Vito (Robert De Niro): "The Immigrant Theme" and "The Tarantella", introduced in "A New Carpet"." (bron: Wikipedia)
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