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Charles Gounod – Faust (Highlights)

Charles Gounod – Faust (Highlights)

Recorded at Brangwyn Hall, Swanse, UK on July, 1993.

About this opera:
Faust is a grand opera in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré from Carré’s play Faust et Marguerite, in turn loosely based on Johann Wolfgang von Goethe’s Faust, Part 1. It debuted at the Théâtre Lyrique (Théâtre-Historique, Opèra-National, Boulevard du Temple) in Paris on March 19, 1859.
Faust was declined at the National Opera House, on the grounds that it was not sufficiently “showy”, and its appearance at the Théatre-Lyrique had been delayed for a year because Dennery’s drama Faust  was currently playing at the Porte St. Martin. The manager Leon Carvalho (who cast his wife Marie Miolan-Carvalho as Marguerite) insisted on various changes during production, including cutting several numbers. Faust was not initially well-received. The publisher Antoine Choudens, who purchased the copyright for 10,000 francs, took the work (with added recitatives replacing the original spoken dialogue) on tour through Germany, Belgium, Italy and England, with Marie Miolan-Carvalho repeating her role. It was revived in Paris in 1862, now a hit. A ballet had to be inserted before the work would be played at the Théâtre Impérial de l’Opéra in 1869: it became the most frequently performed opera at that house and a staple of the international repertory, which it remained for decades, after being translated into at least 25 languages. Its popularity and critical reputation have declined somewhat since around 1950. A full production, with its large chorus and elaborate sets and costumes, is an expensive undertaking today, particularly if the Act V ballet is included. However, it appears as number eighteen on Opera America’s list of the 20 most-performed operas in North America. It was Faust with which the Metropolitan Opera in New York City opened for the first time on October 22, 1883. It is the 8th most frequently performed opera there, with over 730 performances up until 2008. It was not until the period between 1965 and 1977 that the full version was performed (and then with some minor cuts), and all performances in that production included the Walpurgisnacht and the ballet.

The Artists:
Welsh National Opera Orchestra
Carlo Rizzi: conductor

Welsh National Opera Chorus
Gareth Jones: chorus master

Jerry Hadley: Faust
Cecilia Gasdia: Marguerite
Samuel Ramey: Méphisthophéles
Alesandru Agache: Valentin
Susanne Mentzer: Siébel
Brigitte Fassbaender: Marthe
Philippe Fourcade: Wagner

Track List:
01. Act 1 – Vin ou bi re (choeur, Wagner) (5:01)
02. Avant de quitter ces lieux (Valentin) (3:10)
03. Le veau d’or (M phistoph l s, choeur) (2:06)
04. Ne permettrez-vous pas (Faust, Marguerite, M phistoph l s, choeur) (3:57)
05. Act 2 – Quel trouble inconnu (Faust) (6:03)
06. Les grands seigneurs (Marguerite) (6:21)
07. Il se fait tard (Marguerite, Faust) (6:26)
08. Act 3 – Il ne revient pas (Marguerite, choeur) (3:33)
09. Ecoutez! D posons les armes! (Marthe, choeur, Valentin, Si bel) (2:58)
10. Gloire immortelle (choeur) (3:03)
11. Qu’attendez-vous encore? (M phistoph l s, Faust) (1:12)
12. Vous qui faites l’endormie (M phistoph l s, Faust) (2:59)
13. Ecoute-moi bien, Marguerite! (Valentin, Si bel, Marthe, choeur) (5:14)
14. Act 4 – Dans les bruy res (choeur) (1:16)
15. Arr te! (Faust, M phistoph l s, choeur) (3:06)
16. Minuit! Minuit! (M phistoph l s, choeur) (2:34)
17. Que ton ivresse (M phistoph l s, Faust, choeur) (3:13)
18. Alerte! alerte! (M phistoph l s, Marguerite, Faust, choeur) (6:26)
19. Appendix – Musique de ballet – I: Allegretto (2:36)
20. II: Allegretto (1:39)
21. III: Allegro vivo (2:35)

Stereo, DDD, mp3 (320 kbps), 75:59 minutes, 176.46Mb. Covers & info included.

Wolfgang Amadeus Mozart – Le Nozze Di Figaro

Wolfgang Amadeus Mozart – Le Nozze Di Figaro

Recorded in Berlin in 1968.

About this opera:
Whatever the merits of sets made since, this one is ensured a revered place in the pantheon of Figaro recordings. Made in 1968, when Bohm was enjoying an Indian summer, it was based on a production by Sellner at the Deutsche Oper in Berlin and indeed the production was supervised by Sellner. Since its premiere under Bohm in 1963, he had led many revivals including some performances with this cast, around the time the recording was made, which surely accounts for this sense of a true ensemble felt all round and of a thought-through interpretation. The crisp, clear, yet spacious recording, seldom matched on more recent versions, only enhances the authority and warmth of the reading. Bohm radiates the wisdom of his years of attendance on the score without any slackening of his rhythmic grip or his demand for precision of execution. It was also part of Bohm’s genius to weld a heterogenous cast into a convincing whole. No need at this stretch of time to commend the singers individually; each has complete command vocally and dramatically of his or her role though one must just mention Janowitz’s dignified yet lively Countess and Mathis’s animated, alluring Susanna.

The Artists:
Chor Und Orchestra Der Deutschen Oper Berlin
Karl Böhm: conductor
Dietrich FIscher-Dieskau: Il Comte Di Almaviva
Gundula Janowitz: La Contessa Di Almaviva
Edith Mathis: Sussana
Herman Prey: Figaro
Tatiana Troyanos: Cherubino
Patricia Johnson: Marcellina
Martin Vantin: Don Curzio

Track List:
01. Overture (4:14)
02. Act 1, Duetto – Cinque…dieci…venti….trenta… (3:25)
03. Duettino – Se a caso madama la notte ti chiama (4:07)
04. Cavatina – Bravo, signor padrone! (4:27)
05. Aria – La vendetta, oh, la vendetta (3:55)
06. Duettino – Via, resti servita, madama brillante (4:00)
07. Aria – Non so piu cosa son, cosa faccio (6:19)
08. Terzetto – Cosa sento! tosto andante (5:21)
09. Coro – Giovanti liete, fiori spargente (4:37)
10. Aria – Non piu andrai, farfallone amoroso (3:52)
11. Act 2, Cavatina – Porgi, amor (8:47)
12. Canzona – Voi che sapete (4:05)
13. Aria – Venite…inginocchiatevi (3:13)
01. Recitativo – Quante buffonerie! (3:28)
02. Terzetto – Susanna, or via, sortite (4:08)
03. Duettino – Aprite, presto, aprite (2:32)
04. Finale – Esci, ormai, garzon malnato (7:54)
05. Signori, di fuori son già i suonatori (9:12)
06. Voi signor, che giusto siete (4:03)
07. Recitativo – Che imbarazzo è mai questo (2:25)
08. Duetto – Crudel! perchè finora farmi languir cosi? (3:30)
09. Recitativo ad Aria – Hai gia vinta la causa! – Vedrò, mentr’io sospiro (6:46)
10. Sestetto – Riconosci in questo amplesso (6:24)
11. Recitativo ed Aria – E Susanna non vien! – Dove sono i bei momenti (7:36)
12. Duettino – Su l’aria / Che soave zeffiretto (3:54)
1. Coro – Ricevete, o padroncina (3:35)
2. Finale – Ecco la marcia… andiamo (6:16)
3. Act 4, Cavatina – L’ho perduta (3:56)
4. Aria – Il capro e la capretta (5:28)
5. Aria – In quegli anni in cui val poco (4:04)
6. Recitativa ed Aria – Tutto e disposto – Aprite un po’ quegli occhi (5:01)
7. Recitativo ed Aria – Giunse alfin il momento – Deh vieni, non tardar (5:32)
8. Finale – Pian pianin le andrò più presso (11:35)
9. Gente,gente, all’armi, all’armi (5:07)

Stereo, ADD, mp3 (30 kbps CBR), 421.86 Mb, 173:12 minutes. Full info, synosis & covers included.
Part2 Part3 Part4Part5

George Frideric Händel – Samson

George Frideric Händel – Samson

Recorded at the Musikverein, Vienna, May 1992

About this work:
Samson (HWV 57) is an oratorio by George Frideric Handel. It was based on a libretto by Newburgh Hamilton, who based it on Milton’s Samson Agonistes, which in turn was based on the figure Samson in Chapter 16 of the Book of Judges. Samson is considered one of Handel’s finest dramatic works. The premiere was given in London on 18 February 1743. It was a great success, leading to a total of seven performances in its first season, the most in a single season of any of his oratorios. Samson retained its popularity throughout Handel’s lifetime and has never fallen entirely out of favor since. The well-known arias “Let the bright Seraphim” (for soprano) and “Total eclipse” (for tenor) are often performed separately in concert. Samson is usually performed as an oratorio in concert form, but on occasions has also been staged as an opera.

The Artists:
Concentus Musicus Wien
Nikolaus Harnoncourt: conductor
Arnold Schoenberg Chor
Erwin Ortner: chorus master
Anthony Rolfe Johnson: Samson
Roberta Alexander: Dalila
Jochen Kowalski: Micah
Anton Scharinger: Manoa
Alastair Miles: Harapha

Track List:
01. Symphony { Georg Friedrich Händel 1685-1759 } (5:28)
02. Menuet (2:58)
03. Chorus of Philistines: Awake the trumpet’s lofty sound (2:03)
04. Philistine Woman: Ye men of Gaza, hither bring (3:54)
05. Chorus of Philistines: Awake the trumpet’s lofty sound (1:13)
06. Samson(Air): Torments, alas! are not confined (5:57)
07. Micah (Air): O mirror of our fickle state (4:01)
08. Samson (Air): Total eclipse! no sun, no moon, all dark (3:27)
09. Micah (Accompagnato): Since light so necessary is to life (1:19)
10. horus of Israelites: O first created beam! (4:54)
11. Manoa (Rec): Oh miserable change! is this the man (0:54)
12. Manoa (Acc): The good we wish for, often proves our banes (1:09)
13. Manoa (Air): Thy glorious deeds inspir’d my tongue (4:17)
14. Samson (Acc): My genial spirits droop, my hopes are flat (1:19)
15. Micah (Air): Then long Eternity shall greet your bliss (0:54)
16. Chorus of Israelites: Then round about the starry throne (2:30)
17. Manoa (Rec): Trust yet in God! Thy father’s timely care (0:57)
18. Micah (Air): Return, oh God of hosts! (3:49)
19. Chorus of Israelites:To dust his glory they would tread (5:25)
20. Attendant to Dalila: With plaintive notes and am’rous moan (6:20)
21. Samson (Air): Your charms to ruin led the way (3:49)
22. Dalila,Vergin (Duet): My (Her) faith and truth, oh Samson, prove (4:44)
23. Chorus of Virgins: Her faith and truth, oh Samson, prove (1:11)
24. Dalila (Air): To fleeting pleasures make your court (1:37)
25. Chorus of Virgins: Her faith and truth, oh Samson, prove (1:18)
01. Samson, Dalila (Rec.): N’er think of that! (1:16)
02. Dalila, Samson (Duet): Traitor (Traitress) to love! I’ll sue (hear) no more (2:18)
03. Chorus of Israelites: To man God’s universal law (4:19)
04. Harapha (Air): Honour and arms scorn such a foe (5:18)
05. Samson, Harapha (Duet): Go, baffled coward, go / Presume not on thy God (3:05)
06. Chorus of Israelites: Hear, Jacob’s God, Jehovah, hear! (3:15)
07. Philistine (Air): To song and dance we give the day (1:23)
08. Chorus of Philistines: To song and dance we give the day (2:06)
09. Chorus of Israelites and Philistines: Fix’d in his everlasting seat (2:54)
10. Micah (Rec.): More trouble is behind: for Harapha (1:27)
11. Harapha (Air): Presuming slave, to move their wrath (2:56)
12. Chorus of Israelites: With thunder arm’d, great God, arise! (4:23)
13. Samson (Accompagnato): Jehovah’s Glory known! (0:30)
14. Samson (Air): Thus when the sun from’s wat’ry bed (4:03)
15. Micah (Accompagnato): With might endued above the suns of men (0:32)
16. Micah (Air): The Holy One of Israel be thy guide (1:26)
17. Chorus of Israelites: To fame immortal go (1:20)
18. Philistine (Air): Great Dagon has subdued our foe (1:55)
19. Chorus of Philistines: Great Dagon has subdued our foe (2:23)
20. Manoa (Air): How willing my paternal love (2:49)
21. A Symphony of horror and confusion (0:23)
22. Chorus of Philistines: Hear us, our God, oh hear our cry! (3:08)
23. Micah (Air): Ye sons of Israel, now lament (2:03)
24. Chorus of Israelites: Weep, Israel, weep a louder strain (1:11)
25. A Dead March (3:42)
26. Chorus of Israelites: Glorious hero, may thy grave (5:13)
27. Israelitish woman(Air): Let the bright Seraphim in burning row (3:13)
28. Chorus of Israelites: Let their celestial concerts all unite (3:18)

Stereo, DDD, mp3 (320 kbps CBR), 366.45 Mb, 147:44 minutes. Full info, synopsis & covers included.

Various Artists – The Russian Opera Experience

Various Artists – The Russian Opera Experience

Published in 1997

About this works:
This recording presentes a fine selection of operas from the most famous russian composers of the 20th century. From Rimsky-Korsakov to Glinka trough Rachmaninov and Mussorgsky, the operas presented here rank among the most famous compositions of russian operas, all of them performed by the most prestigious former East Germany & Bulgarian orchestras and singers. A good opportunity to get familiar with the russian operas.

The Artists:
Rundfunk Sinfonieorchester Berlin – Michail Jurowsky (1 & 6)
Bulgarian Radio Symphony Orchestra – Stoyan Angelov (2 & 7)
Kölner Rundfunk Sinfonieorchester – Alexander Lazarew (3, 4 & 5)
Sofia National Opera Chorus & Orchestra – Dimiter Manolov (8)
Plovdic Philharmonic Orchestra – Rouslan Raychev (9,10 & 11)
Sofia National Opera Orchestra – Atanas Margaritov (12 & 13)
Sofia National Opera Orchestra – Ivan Marinov (14,15 & 26)

Track List:
01. Nicolai Rimsky-Korsakov / Snegurochka – Tanz der Spielleute (3:41)
02. Nicolai Rimsky-Korsakov / Schneeflöckchen – Blumenchor (4:48)
03. Nicolai Rimsky-Korsakov / Mainacht – He! Burschen (2:04)
04. Nicolai Rimsky-Korsakov / Mainacht – Ukrainische Nacht (2:42)
05. Nicolai Rimsky-Korsakov / Mainacht – Chor der Nixen (4:27)
06. Nicolai Rimsky-Korsakov / Das Märchen vom Zaren Saltan – Opernsuite op 57 (4:50)
07. Nicolai Rimsky-Korsakov / Die Boyarin Vera Sheloga – Wiegenlied (4:18)
08. Nicolai Rimsky-Korsakov / Der goldene Hahn – König Dodons Tod (7:48)
09. Serge Rachmaninov / Aleko – Tanz der Männer (4:49)
10. Serge Rachmaninov / Aleko – Chor der Zigeuner (2:57)
11. Serge Rachmaninov / Aleko – Cavatine des Aleko (5:51)
12. Modest Mussorgsky / Khovanshchina – Tanz der persischen Sklaven (6:52)
13. Modest Mussorgsky / Khovanshchina – Weissagung der Marfa (4:57)
14. Mikhail I. Glinka / Ivan Susanin – Polonaise (4:29)
15. Mikhail I. Glinka / Ivan Susanin – Rezitativ und Arie (5:23)
16. Mikhail I. Glinka / Ivan Susanin – Finale (3:59)

Stereo, ADD-DD, mp3 (320 kbps), 171.95 Mb, 73:55 minutes. Covers & info included.

Giuseppe Verdi – Don Carlo

Giuseppe Verdi – Don Carlo

Recorded at the Philarmonie, Berlin from 15th to 20th of September 1978.

About this opera:
Don Carlos is a five-act Grand Opera composed by Giuseppe Verdi to a French language libretto  by Camille du Locle and Joseph Méry, based on the dramatic play Don Carlos, Infant von Spanien (“Don Carlos, Infante  of Spain”) by Friedrich Schiller. The story is based on conflicts in the life of Carlos, Prince of Asturias (1545-1568) after his betrothed Elisabeth of Valois was married instead to his father Philip II of Spain as part of the peace treaty ending the Italian War of 1551-1559 between the Houses of Habsburg and Valois. It received its first performance at the Théâtre Impérial de l’Opéra on 11 March 1867. Over the following twenty years, cuts and additions were made to the opera, resulting in a number of versions being available to directors and conductors. No other Verdi opera exists in so many versions. At its full-length (including the ballet and the cuts made before the first performance), it contains about four hours of music, and is Verdi’s longest opera. An Italian translation of this revised French text, re-using much of the original 1866 translation by de Lauzières, was made by Angelo Zanardini. The La Scala, Milan, première of the revision, now re-titled Don Carlo, took place on 10 January 1884. Although Verdi had accepted the need to remove the first act, it seems that he changed his mind and allowed a performance on 29 December 1886 in Modena which presented the “Fontainebleau’’ first act along with the revised 4-act version. This version was published by Ricordi as “a new edition in five acts without ballet”. Performances of Don Carlos/Don Carlo in the first half of the twentieth century were rare, but in the post Second World War period it has been regularly performed, particularly in the four-act 1883 ‘Milanese’ version. Following the notable 1958 staging of the 1886 five-act Italian version at the Royal Opera House, Covent Garden (director Luchino Visconti), this version has increasingly been performed elsewhere and has been recorded by, among others, Georg Solti and Carlo Maria Giulini. Finally, stagings and recordings of the original five-act French version of the opera have become more frequent, performances having been given at the Teatro alla Scala in 1970 featuring Plácido Domingo with Katia Ricciarelli, at the Théâtre du Châtelet in 1996, with Roberto Alagna as Don Carlos (which has been released on CD and DVD), and at the San Francisco Opera in 2003. A five-act version including the parts not performed in the first Paris première (but omitting the ballet “La Pérégrina”) was staged and conducted by Sarah Caldwell with the Opera Company of Boston in 1973. The complete uncut French version was performed at the Staatsoper in Vienna (2006) and at the Liceu, Barcelona; its conductor was Bertrand de Billy.

The Artists:
Berliner Philharmoniker
Herbert von Karajan: director
José Carreras: Don Carlo
Mirella Freni: Elisabetta de Valois
Agnes Baltsa: La Principessa d’Eboli
Nicolai Ghiaurov: Filippo II
Piero Cappuccilli: Rodrigo
Ruggero Raimondi: Il Grande Inquisitori
José Van Dam: Un Frate
Edita Gruberova: Tebaldo
Horst Nitsche: Il Comte Di Lerma
Carlo Meletti: Un Araldo Reale
Barbara Hendricks: Una Voce Dal Cielo

Track List:
01. Act 1, Scene 1 – Carlo il sommo Imperatore (6:12)
02. Io l’ho perduta! (3:20)
03. Il duolo della terra (1:02)
04. E lui! desso! l’Infante! (3:18)
05. Ascolta! Le porte dell’asil s’apron gia (0:53)
06. Dio, che nell’alma infondere amor (4:46)
07. Act 1, Scene 2 – Sotto ai folti, immensi abeti (2:42)
08. Tra queste mura pie la Regina di Spagna (0:49)
09. Nei giardin del bello saracin ostello (4:49)
10. La Regina!…Un’arcana mestizia (1:55)
11. Che mai si fa nel suol francese (2:24)
12. Carlo, ch’e sol il nostro amore (5:04)
13. Io vengo a domandar (11:22)
14. Il Re!…Perche sola e la Regina (1:18)
15. No pianger, mia compagna (4:55)
16. Restate! Presso alla mio personna (2:14)
17. O Signor, di Fiandra arrivo (3:16)
18. Quest’e la pace che voi date al mondo (3:13)
19. Oso lo sguardo tuo penetrar il mio soglio (3:41)
1. Act 2, Scene 1 – A mezzanotte, ai giardin della Regina (10:15)
2. Ed io, che tremava al suo aspetto! (4:52)
3. Act 2, Scene 2 – Spuntato ecco il di d’esultanza (4:02)
4. Cortege (3:21)
5. Or la porta s’apra del tempio! (2:18)
6. Nel posar sul mio capo la corona (6:21)
7. Sire! egli e tempo ch’io viva! (2:08)
8. Ciel! Tu! Rodrigo! (2:46)
01. Act 3, Scene 1 – Ella giammai m’amo! (10:00)
02. Il Grand’Inquisitor! (9:10)
03. Giustizia, giustizia, SIre! (3:12)
04. Ardita troppo voi favellate! (1:59)
05. Ah! sii maledetto, sospetto fatale (4:26)
06. Pieta! Pieta! Perdon! (3:56)
07. O don fatale, o don crudel (5:30)
08. Act 3, Scene 2 – Son io, mio Carlo (3:25)
09. Per me giunto e il di supremo (5:51)
10. Il morro ma lieto in core (2:44)
11. Mio Carlo, a te la spada io rendo (3:24)
12. Act 4 – Tu che le vanita (12:05)
13. E dessa!…Un detto, un sol (6:32)
14. Ma lassu ci vedremo (5:51)

Stereo, ADD, mp3 (320 kbps), 420.81 Mb, 118:41 minutes. Info, synopsis & covers included.

Johann Sebastian Bach – St. Matthew Passion

Johann Sebastian Bach – St. Matthew Passion

Recorded at the Italian Insitute, Budapest from 6th to 14th of February 1993

About this work:
The St Matthew Passion, BWV  244, (German: Matthäus-Passion), is a musical composition written by Johann Sebastian Bach in 1727 for solo voices, double choir  and double orchestra, with libretto  by Picander  (Christian Friedrich Henrici). It sets chapters 26 and 27 of the Gospel of Matthew to music, with interspersed chorales  and arias. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini Nostri J.C. Secundum Evangelistam Matthaeum translates to: The Suffering of our Lord J.C. after the Evangelist Matthew. It is rendered in English also as St. Matthew Passion and in German also as Matthäuspassion. Only two of the four (or five) settings of the Passion which Bach wrote have survived; the other is the St John Passion. The St Matthew Passion was probably first performed on Good Friday (11 April) 1727[1] in the Thomaskirche in Leipzig, where Bach was the Kapellmeister. He revised it by 1736, performing it again on March 30, 1736, this time including two organs in the instrumentation. The St Matthew Passion was not heard outside of Leipzig until 1829, when Felix Mendelssohn performed an abbreviated and modified version of it in Berlin to great acclaim. Mendelssohn’s revival of the St Matthew Passion brought the music of Bach, particularly the large-scale works, to public and scholarly attention. Appreciation, performance and study of Bach have persisted into the present era. Meanwhile William Sterndale Bennett formed the Bach Society in 1849 with the intention of introducing the work to the English public. Helen Johnston (a student at Queen’s College London) translated the libretto, and Bennett conducted the first performance at the Hanover Square Rooms London on 6th April 1854. The soloists included Charlotte Helen Sainton-Dolby. The Sterndale Bennett edition was to be the first of many, the latest being by Neil Jenkins. The Bach Society was reformed in 1876 as The Bach Choir in London.

The Artists:
Hungarian State Symphony Orchestra
Géza Oberfrank: conductor

József Mukk: Evangelist
István Gáti: Jesus
Judit Németh: First Witness
Peter Köves: Judas
Péter Cser: Pilate
Ferenc Korpás: First High Priest
Rózsa Kiss: Pilate’s Wife
Ágenes Csenki: Second Maidservant

Hungarian Festival Choir
Ágnes Mester: Chorus master

Children’s Choir Of The Hungarian Radio
János Remémyi: Chorus Master

Track List:
01. Nr. 1 Chor mit Choral (Kommt, ihr Töchter, helft mir klagen!) (7:34)
02. Nr. 2 Rezitativ (Da Jesus diese Rede vollendet hatte) (0:33)
03. Nr. 3 Choral (Herzliebster Jesu, was hast du verbrochen) (0:47)
04. Nr. 4 Rezitativ und Chor (Da versammleten sich die Hohenpriester) (2:49)
05. Nr. 5 Rezitativ (Alt) (Du lieber Heiland du) (0:40)
06. Nr. 6 Arie (Alt) (Buß’ und Reu’) (4:14)
07. Nr. 7 Rezitativ (Da ging hin der Zwölfen einer) (0:30)
08. Nr. 8 Arie (Sopran) (Blute nur, du liebes Herz!) (4:47)
09. Nr. 9 Rezitativ und Chor (Aber am ersten Tage der süßen Brot) (1:48)
10. Nr. 10 Choral (Ich bin’s, ich sollte büßen) (0:50)
11. Nr. 11 Rezitativ (Er antwortete und sprach) (2:44)
12. Nr. 12 Rezitativ (Sopran) (Wiewohl mein Herz in Tränen schwimmt) (1:14)
13. Nr. 13 Arie (Sopran) (Ich will dir mein Herze schenken) (3:39)
14. Nr. 14 Rezitativ (Und da sie den Lobgesang gesprochen hatten) (0:56)
15. Nr. 15 Choral (Erkenne mich, mein Hüter) (0:59)
16. Nr. 16 Rezitativ (Petrus aber antwortete und sprach zu ihm) (1:01)
17. Nr. 17 Choral (Ich will hier bei dir stehen) (1:08)
18. Nr. 18 Rezitativ (Da kam Jesus mit ihnen zu einem Hofe) (1:32)
19. Nr. 19 Rezitativ (Tenor) mit Choral (O Schmerz!) (1:35)
20. Nr. 20 Arie (Tenor) mit Chor (Ich will bei meinem Jesu wachen) (5:25)
21. Nr. 21 Rezitativ (Und ging hin ein wenig) (0:42)
22. Nr. 22 Rezitativ (Bass) (Der Heiland fällt vor seinem Vater nieder) (0:47)
23. Nr. 23 Arie (Bass) (Gerne will ich mich bequemen) (4:27)
24. Nr. 24 Rezitativ (Und er kam zu seinen Jüngern) (1:13)
25. Nr. 25 Choral (Was mein Gott will) (1:27)
26. Nr. 26 Rezitativ (Und er kam und fand sie aber schlafend) (2:12)
27. Nr. 27 Arie mit Chor (So ist mein Jesus nun gefangen) (3:50)
28. Nr. 28 Rezitativ (Und siehe, einer aus denen) (2:02)
29. Nr. 29 Choral (O Mensch, bewein dein Sünde groß) (6:04)
01. Nr. 30 Arie (Alt) mit Chor (Ach, nun ist mein Jesus hin!) (3:32)
02. Nr. 31 Rezitativ (Die aber Jesum gegriffen hatten) (0:52)
03. Nr. 32 Choral (Mir hat die Welt trüglich gericht’) (0:50)
04. Nr. 33 Rezitativ (Und wiewohl viel falsche Zeugen) (1:05)
05. Nr. 34 Rezitativ (Tenor) (Mein Jesus schweight zu falschen Lügen stille) (0:53)
06. Nr. 35 Arie (Tenor) (Geduld! Geduld!) (3:26)
07. Nr. 36 Rezitativ und Chor (Und der Hohepriester antwortete und sprach zu ihm) (2:03)
08. Nr. 37 Choral (Wer hat dich so geschlagen) (0:51)
09. Nr. 38 Rezitativ und Chor (Petrus aber saß draußen im Palast) (2:14)
10. Nr. 39 Arie (Alt) (Erbarme dich, mein Gott!) (7:06)
11. Nr. 40 Choral (Bin ich gleich von dir gewichen) (1:14)
12. Nr. 41 Rezitativ und Chor (Des Morgens aber hielten alle Hohepriester) (1:48)
13. Nr. 42 Arie (Bass) (Gebt mir meinen Jesum wieder!) (3:30)
14. Nr. 43 Rezitativ (Sie hielten aber einen Rat) (1:51)
15. Nr. 44 Choral (Befiehl du deine Wege) (1:12)
16. Nr. 45 Rezitativ und Chor (Auf das Fest aber hatte der Landpfleger Gewohnheit) (2:21)
17. Nr. 46 Choral (Wie wunderbarlich ist doch diese Strafe!) (0:47)
18. Nr. 47 Rezitativ (Der Landpfleger sagte) (0:11)
19. Nr. 48 Rezitativ (Sopran) (Er hat uns allen wohlgetan) (1:00)
20. Nr. 49 Arie (Sopran) (Aus Liebe will mein Heiland sterben!) (4:49)
21. Nr. 50 Rezitativ und Chor (Sie schrieen aber noch mehr und sprachen) (1:52)
22. Nr. 51 Rezitativ (Alt) (Erbarm es Gott!) (0:48)
23. Nr. 52 Arie (Alt) (Können Tränen meiner Wangen Nichts erlangen) (6:26)
01. Nr. 53 Rezitativ und Chor (Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich in das Richthaus) (1:01)
02. Nr. 54 Choral (O Haupt voll Blut und Wunden) (2:25)
03. Nr. 55 Rezitativ (Und da sie ihn verspottet hatten) (0:44)
04. Nr. 56 Rezitativ (Bass) (Ja! freilich will in uns das Fleisch und Blut) (0:32)
05. Nr. 57 Arie (Bass) (Komm, süßes Kreuz, so will ich sagen) (6:27)
06. Nr. 58 Rezitativ und Chor (Und da sie an die Stätte kamen mit Namen Golgatha) (3:22)
07. Nr. 59 Rezitativ (Alt) (Ach Golgatha, unsel’ges Golgatha!) (1:13)
08. Nr. 60 Arie (Alt) mit Chor (Sehet, Jesus hatdie Hand) (3:13)
09. Nr. 61 Rezitativ und Chor (Und von der sechsten Stunde an war eine Finsternis über das ganze Land) (2:02)
10. Nr. 62 Choral (Wenn ich einmal soll scheiden) (1:27)
11. Nr. 63 Rezitativ und Chor (Und siehe da, der Vorhang im Tempel) (2:14)
12. Nr. 64 Rezitativ (Bass) (Am Abend, da es kühle war) (1:24)
13. Nr. 65 Arie (Bass) (Mache dich, mein Herze rein) (7:44)
14. Nr. 66 Rezitativ und Chor (Und Joseph nahm den Leib) (2:20)
15. Nr. 67 Rezitativ (Solisten und Chor) (Nun ist der Herr zur Ruh gebracht) (1:37)
16. Nr. 68 Chor (Wir setzen uns mit Tränen nieder) (6:27)

Stereo, DDD, mp3 (320 kbps), 377.49 Mb, 120:43 minutes. Info & covers included.


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.