DepositFiles - FileFactory
contents:
1. Ouverture - Arminio - Il Complesso Barocco
2. Dolce Riposo - Teseo - DiDonato
3. Della vita mortale - Il Trionfo del Tempo e del Disinganno - Dessay
4. Un pensiero nemico di pace - Il Trionfo del Tempo e del Disinganno - Dessay
5. A deluder le frodi io mi preparo - Fernando, re di Castiglia - Cencic
6. Sincero affetto - Fernando, re di Castiglia - Cencic
7. Destero dall'empia dite - Amadigi - DiDonato
8. Sarabande - Alcina - City of London Sinfonia
9. Così la tortorella - La Resurrezione - Bostridge
10. Bellissima Romilda - Serse - von Otter
11. Di tacere e di schernirmi - Serse - von Otter
12. Scherza, infida - Ariodante - Jaroussky
13. Ah! Stigie larvae- Orlando - Genaux
14. Madre! Mia vita! - Giulio Cesare - Blythe
15. Son nata a lagrimar - Giulio Cesare - Blythe
16. Ah! Ruggiero crudel - Alcina - Augér
17. Ombre pallide, lo so, mi udite - Alcina - Augér
18. Ti stringo, o illustre acciaro - Arminio - McGreevy, Custer
19. Quando piu minaccia il cielo - Arminio - McGreevy, Custer
20. Verso il gran fine - Deidamia - Bonitatibus
21. Come all'urto aggressor - Deidamia - Bonitatibus
22. Aria Venti turbini - Rinaldo - Daniels
23. Doppo tante amare pene - Alcina - City of London Sinfonia
contents:
1. Ouverture - Arminio - Il Complesso Barocco
2. Dolce Riposo - Teseo - DiDonato
3. Della vita mortale - Il Trionfo del Tempo e del Disinganno - Dessay
4. Un pensiero nemico di pace - Il Trionfo del Tempo e del Disinganno - Dessay
5. A deluder le frodi io mi preparo - Fernando, re di Castiglia - Cencic
6. Sincero affetto - Fernando, re di Castiglia - Cencic
7. Destero dall'empia dite - Amadigi - DiDonato
8. Sarabande - Alcina - City of London Sinfonia
9. Così la tortorella - La Resurrezione - Bostridge
10. Bellissima Romilda - Serse - von Otter
11. Di tacere e di schernirmi - Serse - von Otter
12. Scherza, infida - Ariodante - Jaroussky
13. Ah! Stigie larvae- Orlando - Genaux
14. Madre! Mia vita! - Giulio Cesare - Blythe
15. Son nata a lagrimar - Giulio Cesare - Blythe
16. Ah! Ruggiero crudel - Alcina - Augér
17. Ombre pallide, lo so, mi udite - Alcina - Augér
18. Ti stringo, o illustre acciaro - Arminio - McGreevy, Custer
19. Quando piu minaccia il cielo - Arminio - McGreevy, Custer
20. Verso il gran fine - Deidamia - Bonitatibus
21. Come all'urto aggressor - Deidamia - Bonitatibus
22. Aria Venti turbini - Rinaldo - Daniels
23. Doppo tante amare pene - Alcina - City of London Sinfonia
Joyce DiDonato, Natalie Dessay, Max Emanuel Cencic, Ian Bostridge, Anne Sofie von Otter, Philippe Jaroussky, Vivica Genaux, Stephanie Blythe, David Daniels, Arleen Augér, Geraldine McGreevy, Manuela Custer & Anna Bonitatibus
Il Complesso Barocco, Les Talens Lyriques, Le Concert d'Astrée, City of London Sinfonia, Orchestra of the Age of Enlightenment, Les Arts Florissants, Les Violons du Roy & Ensemble Orchestral de Paris, Alan Curtis, Christophe Rousset, Emmanuelle Haïm, Richard Hickox, William Christie, Bernard Labadie, John Nelson, Harry Bicket & Sir Roger Norrington
Il Complesso Barocco, Les Talens Lyriques, Le Concert d'Astrée, City of London Sinfonia, Orchestra of the Age of Enlightenment, Les Arts Florissants, Les Violons du Roy & Ensemble Orchestral de Paris, Alan Curtis, Christophe Rousset, Emmanuelle Haïm, Richard Hickox, William Christie, Bernard Labadie, John Nelson, Harry Bicket & Sir Roger Norrington
The greatest opera Handel NEVER wrote ... 'Un opera immaginaria', assembled from Handel’s own music by French musicologist Ivan A. Alexandre, is a new take on the formula perfected by the composer, the Baroque era’s acknowledged master of music theatre.
“It seems that, in the years around 1720, when people went to the opera to hear a castrato idol or an adored soprano, they would play cards, pay court to their neighbours and savour sorbets during the recitatives – even during the so-called arias of action, which they enjoyed less than the ornamented reprises of the showpiece arias. With this intractable and hedonistic audience in mind (so different from people like us, of course), thirteen star singers came together to concoct this festive piece, constructed and presented in three acts like a true dramma per musica, but with no explicit story and no concrete characters: in other words, an imaginary opera formed of passion and music. It is also a salute to the composer, who died on 14th April 1759, a quarter of a millennium ago – and to the opera-loving public, deprived of sorbet, but not of pleasure.”
Ivan A. Alexandre
This ‘imaginary opera’ , starts with an overture, and leads through a varied sequence of recitatives, arias and duets to a final chorus. In three distinct parts, it follows the dramatic scheme of a typical Handel stage-work, moving from optimisim and brilliance to tragically laden crisis before resolving itself with heroic vigour. It features such characteristic devices of Baroque opera as a ‘mad scene’ (‘Ah! Stigie larve’ from Orlando) bravura arias (among them, ‘Venti, turbini’ from Rinaldo), and the illustrative aria (‘Così la tortorella’ from La resurezzione, in which the flute imitates the call of a dove. Other works represented in this ‘imaginary opera’ include Alcina, Giulio Cesare, Serse, Teseo and Amadigi.
“It seems that, in the years around 1720, when people went to the opera to hear a castrato idol or an adored soprano, they would play cards, pay court to their neighbours and savour sorbets during the recitatives – even during the so-called arias of action, which they enjoyed less than the ornamented reprises of the showpiece arias. With this intractable and hedonistic audience in mind (so different from people like us, of course), thirteen star singers came together to concoct this festive piece, constructed and presented in three acts like a true dramma per musica, but with no explicit story and no concrete characters: in other words, an imaginary opera formed of passion and music. It is also a salute to the composer, who died on 14th April 1759, a quarter of a millennium ago – and to the opera-loving public, deprived of sorbet, but not of pleasure.”
Ivan A. Alexandre
This ‘imaginary opera’ , starts with an overture, and leads through a varied sequence of recitatives, arias and duets to a final chorus. In three distinct parts, it follows the dramatic scheme of a typical Handel stage-work, moving from optimisim and brilliance to tragically laden crisis before resolving itself with heroic vigour. It features such characteristic devices of Baroque opera as a ‘mad scene’ (‘Ah! Stigie larve’ from Orlando) bravura arias (among them, ‘Venti, turbini’ from Rinaldo), and the illustrative aria (‘Così la tortorella’ from La resurezzione, in which the flute imitates the call of a dove. Other works represented in this ‘imaginary opera’ include Alcina, Giulio Cesare, Serse, Teseo and Amadigi.
0 commenti:
Posta un commento