George Frideric Händel – Radamisto

George Frideric Händel – Radamisto

Recorded at the Stadthalle, Göttingen, Germany on June 14-18, 1993.

About this opera:
Radamisto (HWV 12) is an opera in three acts by George Frideric Handel. It was Handel’s first opera for the Royal Academy of Music. It was first performed at the King’s Theatre, London on 27 April 1720 and was judged to be a success, resulting in 10 further performances. Its text was adapted in London (probably by Nicola Haym) from L’amor tirannico (Florence, 1712), which is based on Domenico Lalli’s L’amor tirannico (Venice, 1710), whose source was Georges de Scudéry’s L’amour tyrannique (Paris, 1639). Ordinarily, the text adaptor would sign (and profit from) the dedication in a libretto, but “George Frederic Handel” signed the dedication of Radamisto “to the King’s Most Excellent Majesty.” The only prompt copy for any Handel opera known to be extant is for this production, and its annotations imply a lavish affair. There were ten female and perhaps sixteen male supernumeraries, who served as soldiers or companions. During a scene-change (I, viii-ix) accompanied by a sinfonia, at least eight pike-bearing soldiers charged over a practicable bridge. In addition, dancers performed the four-part balli placed at the end of each act. Act I ends in Bb, the key of the ensuing Marche and Rigadon I, which are followed by Rigadon II in the relative minor, then by an Air in Bb. Act II ends in A, the key of a huge Passacaille (21 statements of an 8-bar pattern: 12 in A, 6 in the relative minor, plus 3 more in A) and a binary Gigue. Act III ends in D with a substantial chorus in rondo form (which was presumably danced), a Passepied based on the choral refrain, a Rigadon in the relative minor, a da capo of the Passepied, and a da capo of the choral refrain. Strings, oboes and bassoons play the dance music after acts I and II; two French horns and two trumpets join them to provide a true climax at the end of act III. The only other London operas for which Handel wrote ballets were those of 1734-5, when Marie Sallé danced at Covent Garden. It therefore seems clear that Radamisto was imbued with “Most Excellent Majesty.”
A revised version with different singers was written for a revival on 28 December 1720. More revisions followed for yet another version presented in 1721 and again for further revival in 1728. It was also given in Hamburg. The first modern performance was in Göttingen  on 27 June 1927. The first production in the US, in a semi-staged version, took place on 16 February 1980 in Washington, DC and the first fully-staged presentation was given at Mannes College, New York on 10 January 1992. Productions are fairly rare in modern times. They include the Gottingen Festival production of 1993 given in Zurich and conducted by Nicholas McGegan which was later recorded by Harmonia Mundi; Opera McGill in Montreal presented the 1720 revision in May 2006; and the Santa Fe Opera presented it with counter tenor David Daniels as part of its 2008 season.

The Artists:
Freiburger Barockorchester
Nicholas McGegan: conductor
Ralph Popken (countertenor): Radamisto
Juliana Gondek (soprano): Zenobia
Lisa Saffer (soprano): Polissena
Dana Hanchard (soprano): Tigrane
Monika Frimmer (soprano): Fraarte
Michael Dean (bass-baritone): Tiridarte
Nicloas Cavallier (bass): Farasmane

Track List:
01. Overture (3:50)
02. Cavatina (2:14)
03. Recitativo (1:31)
04. Aria (Fraarte) (3:30)
05. Recitativo (0:42)
06. Aria (Tigrane) (4:08)
07. Recitativo (1:06)
08. Aria(Polissena) (4:14)
09. Recitativo (1:40)
10. Aria (Tiridate) (4:17)
11. Recitativo (0:59)
12. Aria (Radamisto) (4:13)
13. Recitativo (2:16)
14. Aria (Zenobia) (4:45)
15. Recitativo (0:38)
16. Aria (Radamisto) (4:08)
17. Recitativo (0:32)
18. aria (Farasmane) (4:12)
19. Recitativo-Sinfonia (0:47)
20. Recitativo (2:24)
22. Aria (Tigrane) (4:50)
22. Recitativo (0:27)
23. Aria (Polissena) (4:42)
01. Sposo, vien meno il piè (0:39)
02. Quando mai, spietata sorte (2:42)
03. Oh crudo ciel! (3:41)
04. Vuol ch’io serva (5:41)
05. Prencipe generoso (0:22)
06. Ombra cara di mia sposa (8:07)
07. Mitiga il grave affanno (1:06)
08. Lascia pur amica spene (4:59)
09. Oh senza esempio dispietata sorte! (0:26)
10. Già che morir non posso (4:13)
11. Signor….E che mi rechi?. (2:16)
12. Si che ti renderai (4:03)
13. Nulla già di speranza (0:38)
14. Fatemi, o cieli, almen (5:40)
15. Questo vago giardin (0:46)
16. La sorte, il ciel, amor (4:40)
17. Adorato german, quanto più lieta (1:23)
18. Vanne, sorella ingrata (2:30)
19. Trà il german, trà lo sposo (0:23)
20. Che farà quest’alma mia (3:52)
21. Troppo sofferse (3:05)
22. Due seggi, olà! (3:48)
23. Empio, perverso cor! (2:14)
24. Ascolta, Ismen (1:24)
25. Se teco vive il cor (3:29)
01. Stanco di più soffrir (0:54)
02. S’adopri il braccio armato (3:22)
03. So ben che nel mio amore (0:27)
04. So ch’è vana la speranza (2:21)
05. Non temo, idolo mio (0:46)
06. Dolce bene di quest’alma (6:16)
07. O della Tracia, o dell’Armenia (2:56)
08. Vieni, d’empietà (1:02)
09. Vile! se mi dai vita (3:43)
10. Mio Rè, mi Tiridate, ascolta (1:04)
11. Barbaro! partirò (3:43)
12. Rarasmane la segua (0:55)
13. Alzo al volo (4:38)
14. Di Radamisto il capo? (0:49)
15. Deggio dunque, oh Dio (4:09)
16. Oh Dio! parte Zenobia (0:28)
17. Qual nave smarrita (5:34)
18. In questo tempio (2:04)
19. O cedere o perir (2:55)
20. Arrestatevi, o fidi! (1:48)
21. Non ho più affanni (1:54)
22. Festeggi omai la reggia (0:12)
23. Un dì più felice (3:22)

Stereo, DDD, mp3 (320 kbps), 448.43 Mb, 3 hours 11 minutes. Covers, info & synopsis included.



One Response

  1. Bueno, veo que sigues con la clásica. Será que los años te hacen ir hacia atrás en los gustos musicales.

    Veo que sigues con un trabajo concienzudo y constante. Como se nota el tiempo libre que hay….

    Saludos de otro bloguero, un poco más lento en la publicación de entradas, pero en el siglo XXI.


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