We are searching data for your request:
Upon completion, a link will appear to access the found materials.
SOUNDS EMITTED BY ANIMALS
The song of the nightingale
The nightingale, Luscinia megarhynchos of the family Muscicapidae, is one of the best known birds for its melodious song. In early spring the nightingales sing mainly at night and until the morning both to delimit their territory and to attract females. Their song is very complex because it is composed of several types of stanzas and is never monotonous.
Sound emitted by the lark: song of the lark
Add the video to your site with the embed code above. Nature, uses, customs of South America. For this reason, the larks will become one of the symbols of good that defeats evil and, in medieval times, a symbol both of Christ who ascends to heaven, and of the good monk who rises above others thanks to patience and prayer.
In Italy alone, nearly two million larks are cut down every year. Roberto Benigni recites the first canto of Dante's Inferno. Sounds made by animals.
Believe me, love, it was the nightingale. Readers' articles.
in the picture: From Tennessee to Cuba and back for 1500 meters of travel in 5 days
The suspicion is that the birds are able to perceive infrasound associated with bad weather. Dr Streby explains that "Meteorologists and physicists have long known that storms cause very powerful infrasound that can spread hundreds of miles away from their center." And these travel at the same frequency as the sounds birds are sensitive to, as explained in the journal Current Biology, where the research was published. The researchers' goal now is to understand the reactions of these animals in the face of the increase in anthropogenic hurricanes, to understand how this could have repercussions on the breeding seasons.
The sad song of the nightingale
|Cima 11 and Cima 12|
In short, it is a perfect time to relax and become one with Nature.
If you are then from the parts of Sassolungo, it may happen to hear a melodious sound coming from some tree, melodious but very sad.
|... a little scared Nightingale was hidden ...|
One spring morning, he saw a sparrow hawk flying around a bush in a threatening manner. Approaching the bush and putting the bird of prey to flight, the princess noticed that in that bush there was a small nightingale afraid. The little bird, noticing safe, turned to the princess, speaking to her in a human voice, and thanked her for saving his life. He also told her that, to reward her for the gesture she had done, he would give her a very precious gift:
-You will transform and re-transform into a nightingale whenever you want, but you will lose this gift when a person who loves you will lose his life for you.
For some time the princess took advantage of this magnificent gift that the nightingale had given her, and had a lot of fun becoming a nightingale, warbling on the branches of trees and then regaining human form.
One day the princess-nightingale alighted on the branches of an oak and heard two woodcocks talking to each other about a young prince who lived alone in a large castle located on the edge of the wood, a long way from the kingdom of the princess, and who spent all his days hunting on his farms. The ruined castle was a sort of defense for this prince, who in fact had never left the confines of his kingdom, perhaps out of fear of the world around him.
|... castle located on the edge of the forest ...|
He saw him as, sword in hand, he practiced hitting some straw puppets. The princess alighted on the branches of a nearby tree and began to sing. Immediately the prince stopped his exercises and set out in search of that heavenly sound. She noticed the nightingale resting on the branches of the tree and approached it, and then the princess, frightened, fell silent and flew away, with her little heart beating madly.
The prince, saddened by having frightened the nightingale, begged him to stay, and then the princess-nightingale, happy, returned to rest on the tree and chirped for the prince until the sun began to set. Then the princess flew away and left the disconsolate prince.
The next day, and so on for three days, the prince always waited for his nightingale, and this promptly came to brighten his day with his melodious song. The prince, however, was ill, suffered immensely, and went to visit the old sage of the village, who after having visited and listened to him, issued his diagnosis: he was simply in love with a woman who had bewitched his heart. The prince was amazed, since he did not know any woman, but the sage's opinion was this, and the prince returned to the castle, even more sad.
The next day, the nightingale sang again, and as soon as he had emitted some sound, the prince immediately recognized the voice of a woman in the melodious song of the bird, and called her to him, so that she would remain close to him. The princess, however, having seen herself uncovered, ran away and the poor prince called her in vain. The princess did not dare to return to the prince's castle, as she did not know how to justify her appearance. So for three days he remained in his castle, unable to decide.
|... an owl, from the top of a tree, had observed the whole scene ...|
Then he turned to the dove, to make sure of his health conditions, and he noticed that an owl, from the top of a tree, had observed the whole scene. The princess then spoke to the owl, marveling at how cruel the eagle had been to want to capture the dove, but in response the owl replied:
–With what courage do you speak, who have shown much more cruelty?
Not understanding what the owl was referring to, the princess asked him for an explanation, and the bird told her:
–With what right do you accuse others? The eagle did not kill, but you did, and for a simple whim. Fly to the Valleombrosa castle and you will understand!
Immediately the princess, almost sensing what had happened, turned into a nightingale and flew very fast to the ruined castle where her prince lived, and looked from above into the courtyard.
The prince lay there on the ground, dead, at the foot of the old tower. Faithful dogs circled around him, whining and licking his hands, in a desperate, useless attempt to bring him back to life.
When they noticed the nightingale, one of the dogs barked at him, saying:
– You arrive too late! In vain did the master wait for you, for three days, until, overcome by pain, he let himself die of a broken heart!
The princess, shocked by terror and remorse, flew back to her castle, never stopping. She arrived almost dead from exhaustion in her garden, and as soon as she caught her breath, she wished to resume human form, but could not. He tried and tried, but to no avail.
Only then did she remember the words that the nightingale had whispered that that gift had given her:
–You will transform and re-transform into a nightingale whenever you want, but you will lose this gift when a person who loves you loses their life for you.
Since then the princess was no longer able to transform herself back into a human being, and continues to live, in the guise of a nightingale, in the woods of the Sassolungo. For this reason, when you walk in those places, listen to your ears, and you will hear the sound of the little nightingale singing his love song.
Voices in history - Toti Dal Monte: the song of the nightingale between virtuosity and heartbeats of love
In the period from the end of the nineteenth century to the 40s of the twentieth century, there is a triumph of light coloratura sopranos in the opera field. A vocal typology to be considered as a paraverist deformation of the lyric soprano, on which the passion of the world audiences for acrobatic singing ends up pouring out. Among the exponents of this category that in the 1950s will be swept away by the advent of Maria Callas, Toti Dal Monte (Mogliano Veneto, 1893 - Pieve di Soligo, 1975) is the singer who, in the decades 1920-1930, exerts the greatest influence on Latin audiences. The Venetian artist was actually born as a lyric soprano, but after some early rehearsals he decided to devote himself to the absolute domination of light sopranos, that repertoire in which he would have excelled at international level and thanks to which he would have become "the Toti".
The myth of Toti is explained primarily by the studies carried out under the guidance of Barbara Marchisio, one of the last great altos of the nineteenth century, from which the young Antonietta Meneghel (this is the real name of ours) assimilates the fundamental technical principles theorized by nineteenth-century vocal schools. Marchisio's technique was famous for the elegance of vocalization, the precision of the trills, descending chromatic scales and agility in general. The vocality of Toti Dal Monte, as well as for the immaculate timbre, the brightness of the enamel and the extension (up to the E flat above in the best years), has among its strengths the technical domain with which it manages to give fund to his paraphernalia as a "nightingale" of opera: from the acute flute notes, staked notes, to the sprints and half-tone volatines, to the voices only the trills, barely hinted at, are not up to the virtuoso.
Even more decisive, in the affirmation of the myth of Toti, are the ingenuity of the accent, the sweetness and the moving fragility that the singer's virginal timbre lends to her chosen characters: Lucia di Lammermoor, Amina della Sleepwalking, Gilda del Rigoletto, Maria della Daughter of the regiment. Compared to the coloratura sopranos of her time (Luisa Tetrazzini, Maria Barrientos, Graciela Pareto, Maria Galvany, Elvira de Hidalgo, Mercedes Capsir), Toti gives the impression of giving these roles a new and personal touch of poetic sensitivity, a sentimental and elegiac matrix that imposes itself beyond the virtuosic artifices. Eugenio Gara speaks of “a voice with a virginal and intimately suffered timbre”. From this point of view, it can be said that the first, albeit partial, modern reform in the coloratura soprano repertoire begins with Toti. It is no coincidence that Arturo Toscanini, for the historic edition of Rigoletto Scaligero of 1922, he prefers the young and still unknown Venetian soprano to the more famous Tetrazzini, progenitor of that group of light sopranos, or lyric-light sopranos, which reigned in the early decades of the twentieth century, also addressing the early nineteenth-century Italian repertoire originally the prerogative of dramatic sopranos of agility.
Toti's operatic repertoire includes twenty authors and thirty works, and ranges from Eurydice by Jacopo Peri a Le Rossignol by Stravinsky. The chronological span of his meager discography goes from 1924 to 1941 and only partially restores his real artistic presence. Today, of course, those interpretations mythologized by audiences who idolized Toti produce a different effect on listening. The incisions of scattered arias made during his career reveal, among the extraordinary qualities, also mannerisms and affectations. In order to respect the fetish of the angelic girl, and therefore the model of the light soprano with fluted sounds, Toti aims at an overall lightening of emissions. This trend, as the records unequivocally document, is accentuated in the central register, where the sounds are often open and bleached. In light of the remaining recordings, therefore, Toti Dal Monte remains an emblematic example of the ancient Italian vocal school, capable of introducing some innovation, but whose style is affected at times by an inevitably dated taste.
Among the most celebrated interpretations delivered to the disc are two pages from Rigoletto: the famous "Caro Nome", recorded in 1924 after the Scala triumphs with Toscanini (I listen), and the final duet "Lassù nel cielo" recorded in 1933. The first piece photographs the soprano's vocality at its best: you can hear a voice with a very pure sound and a bright enamel, homogeneous throughout the range, capable of attacks of a amazing clarity. The treble is reached without uncertainty, the treble has a beautiful projection and you can sense a truly singular amplitude of sound for a light soprano. It goes without saying that the Gilda della Toti is the emblem of candor and chastity: the expression is measured and composed, even in the engraving of the final duet of the work which, amidst scattered cleared sounds, results in a triumph of "death angelicata ".
As for his mythologized Lucia, one can have a precise idea of it thanks to the two arias recorded in 1926 and which portray, also in this case, the soprano at the apex of form. The scene of madness is the page where the singer's lilial voice finds, despite the inevitable affectations, the most inspired and touching accents. It is useless to look for introspective implications. The interpreter expresses the delirium of a woman-child for whom madness represents the forced escape from a now unsustainable reality (I listen). Likewise, Amina, as documented by the beautiful version of “Ah! Non credea mirarti "from 1929 under the direction of Carlo Sabajno, is portrayed under the banner of patheticism and fragility (I listen). These melodramatic creatures are caught in their immature - and therefore vulnerable - aspiration to raise love into an ideal sphere. The passionate notes, the disappointment, the pain, the madness, the idea of death are never resolved in dramatic and tragic accents (those that will be revealed later by Callas), but are always diluted in the purity of a virgin song, suspended in a dimension free from psychological implications. Toti's song fully expresses the concept according to which the loving outpouring and travails of the angelic heroine must find an outlet in an abstract song. The troubles and sufferings resonate in his timbre like a distant dream, however clearly perceptible in its diaphanous transparencies. There are also other recordings in which it is possible to find the best of melancholy abandonments and the sparkling enamelling of this idealized girl's voice: the arias from The daughter of the regiment recorded in 1926 and 1928 (director Gabriele Santini), the cavatina "O light of this soul" by Linda of Chamounix (1929, director Sabajno), or the pages from The pearl fishers he was born in Venice Carnival. In these pieces you can hear purity of intonation, tied and smooth singing, clear agility. Even the interpreter, despite some scattered affectation, is enchanting.
Less significant, in the light of today's taste, the approaches to Rossini (The Barber of Seville, 1933, William Tell, 1924), while the one to Mozart is potentially more interesting ("Deh! Come, non tardar", 1924), an author in which Toti could have shone, yet never faced live, also because at the time in our theaters it was not hardly ever performed. There is also an engraving of "Casta diva" from Norm (1933, director Ghione) which, heard today, after the Callasian reform and the advent of other great bel canto musicians, is a dated example of vocal and expressive mannerism. The point is that Toti Dal Monte ended up attracting into the orbit of a delicate and feeble song even parts where the vocal writing and character of the characters would have required sensitivity and dramatic thrusts of a very different magnitude. It is the case of Madama Butterfly, the only work delivered in its entirety to the disc, alongside Beniamino Gigli and Mario Basiola, and under the direction of Oliviero de Fabritiis. Denigrated by much of the critics, the recording dates back to 1939, a period in which the 46-year-old singer had already entered the declining parable. He had lost the sopracuti (here he omits for example the D flat of the entry aria) and was beginning to fall back on the roles of lyric soprano: almost a return to origins, without however renouncing bleached sounds and "dolls". The result is a mannered and childlike Butterfly, even childish, in line with the cliche conventional character of the prevailing character at the time. Especially in the first act, Toti lightens the emissions in a completely anomalous way, yet the timbre itself is still beautiful and in the moments in which she sings with her real voice, without artificial inflections, we hear a Cio-Cio-San which is always thin. , fragile, but certainly credible and convincing, moreover extraneous to vulgarly externalized accents and harnesses of a realist taste. The final scene of the work, for example, is rendered with intense and, at the same time, measured drama (I listen).
It goes without saying that Toti Dal Monte was not born to restore the bourgeois realism of Puccini and verist theater, but to embody the magic of an enchanted and dreamy world, out of everyday reality. To evoke the pathetic singing atmospheres of a solitary sparrow, inhabitant of a "fairytale sky" and "envied - as Gabriele D'Annunzio wrote - by all the wisest nightingales".
The song of the Skylark in the spring meadows - Video Dailymotion
Van Gogh - Wheatfield with lark, It was the nightingale, not the lark, that hit the hollow of your fearful ear. Higher and higher, higher and higher, I see you darting from the earth, a cloud of fire, and you travel with your wings the blue infinity, you rise in the air singing, and hovering high still songs. men eating insect eggs.
In Italy alone, nearly two million larks are cut down every year. We want a world where people live in harmony with nature, in a fair and sustainable way, and we strive for it every day. The lark, scientific name Alauda arvensis family Alaudidae is a bird much appreciated and loved above all by artists and poets because of its behavior of flying vertically towards the sky the skylark early during the summer and singing at the top of its voice and then plummet and camto rise again towards up and start singing again.
Registration with Guide Register with the Birdwatching guide to enjoy the spectacle of nature.
Report this video Please select an issue. Shelley dedicates the poem To a skylark to her: By continuing to visit the site, the user accepts the use of the lark.
Nature, uses, customs of South America. Snow White and the Seven Dwarfs: Sign up with the Birdwatching Guide to enjoy the spectacle of nature.
Daniel Craig and his future as James Bond: The Cango Song Revolt - part 2 - Final Trailer. Readers' articles. This behavior has originated a wide symbology also as a heraldic animal, that is, used as a symbol.