Haydn - Armida / Bartoli · Petibon · Prégardien · M. Schäfer · Wier · Harnoncourt

Editorial Reviews
Amazon.com
Thanks to his omnivorous curiosity, conductor Nikolaus Harnoncourt has revived an authentic masterpiece. Several opera composers--Lully, Handel, and Gluck--had already availed themselves of the amorous and stormy adventures of the knight Rinaldo and the enchantress Armida, drawn from Tasso's Jerusalem Liberated. Composed in 1784, Haydn's Armida was his the final opera he wrote for his patron Prince Esterházy, but it was also the composer's debut opera seria. Even so--and just like Mozart--Haydn knew how to free himself from the rigid and monotonous alternation of aria and recitative that customarily governed this genre. Thus the final act, which unfolds in an enchanted forest, offers us a half-hour of nearly uninterrupted music, even prefiguring the romantic shape of things to come in the 19th century. This recording was made from a concert performance in June 2000 in Vienna's sumptuous Musikverein under the blazing baton of Harnoncourt. The cast is impeccable--including Christoph Prégardien and Patricia Petibon and dominated by the stunning Cecilia Bartoli, who can swerve within a few bars from boiling anger to the most overwhelming amorous pleading. --Franck Erikson

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Haydn's operas, all too seldom encountered in the opera house, make magnificent home listening. Here, the leisurely dramatic progress is less disturbing; and one can, if one will, skip acres of recitative and concentrate on the magnificent lyric numbers. Not that Haydn lacked a sense of the dramatic – witness many moments in the symphonies and string quartets. And indeed in the operas too, if one picks one's moments, and forgoes comparison with the (mainly rather later) masterpieces of his... read more

Haydn - Armida / Bartoli · Petibon · Prégardien · M. Schäfer · Wier · Harnoncourt

Haydn - Armida / Bartoli · Petibon · Prégardien · M. Schäfer · Wier · Harnoncourt, Music, Joseph Haydn, Nikolaus Harnoncourt, Cecilia Bartoli, Patricia Petibon, Concentus musicus Wien, Christoph Prégardien, Markus Schäfer, Scot Wier, Oliver Widmer, Classical, Classical Composers, Classical Music, German/Austrian Classical Period Opera, Opera, Opera / Operetta / Oratorio
Haydn - Armida / Bartoli · Petibon · Prégardien · M. Schäfer · Wier · Harnoncourt
Average customer rating: 5 out of 5 stars
  • Sexy!
  • Sometimes aggressive leadership
  • this is an OperaMusic.com - HIGHLY Recommended CD!
  • Period instruments do make a difference
  • One of the finest recordings of the year
 Haydn - Armida / Bartoli · Petibon · Prégardien · M. Schäfer · Wier · Harnoncourt
Joseph Haydn , Nikolaus Harnoncourt , Cecilia Bartoli , Patricia Petibon , Concentus musicus Wien , Christoph Prégardien , Markus Schäfer , Scot Wier , and Oliver Widmer
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

All Works by Franz Joseph HaydnAll Works by Franz Joseph Haydn | Haydn, Franz Joseph | ( H ) | Featured Composers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
Harnoncourt, NikolausHarnoncourt, Nikolaus | ( H ) | Featured Performers, A-Z | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Opera & Vocal | Styles | Music
Classical (c.1770-1830)Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music | Cantatas | Romances
GermanGerman | Languages | Opera & Vocal | Styles | Music
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ASIN: B00004YSFQ
Release Date: 2000-11-07

Tracks:

  1. Sinf - Concentus Musicus Wien/Nikolaus Harnoncourt
  2. Atto Primo. Recitativo: Amici, Il Fiero Marte - Oliver Widmer/Cecilia Bartoli
  3. Atto Primo. Aria: Vado A Pugnar Contento - Christoph Pregardien
  4. Atto Primo. Recitativo: Armida, Ebben, Che Pensi? - Christoph Pregardien
  5. Atto Primo. Aria: Se Dal Suo Braccio Oppresso - Oliver Widmer/Cecilia Bartoli
  6. Atto Primo. Recitativo Accompagnato: Parti Rinaldo - Cecilia Bartoli
  7. Atto Primo. Aria: Se Pietade Avete, Oh Numi - Cecilia Bartoli
  8. Atto Primo: Marcia - Concentus Musicus Wien/Nikolaus Harnoncourt
  9. Atto Primo. Recitativo Accompagnato: Valorosi Compagni - Scot Weir
  10. Atto Primo. Aria: Dove Son? Che Miro Intorno?/Recitativo Accompagnato: Qual Turbamento Ignoto... - Scot Weir/Markus Schafer
  11. Atto Primo. Recitativo: Ah, Si Scenda Per Poco - Patricia Petibon/Markus Schafer
  12. Atto Primo. Aria: Se Tu Seguir Mi Vuoi - Patricia Petibon
  13. Atto Primo. Recitativo: Della Mia Fede - Christoph Pregardien/Cecilia Bartoli/Scot Weir
  14. Atto Primo. Recitativo Accompagnato: Oh Amico! Oh Mio Rossor! - Christoph Pregardien/Cecilia Bartoli
  15. Atto Primo. Duetto: Cara Saro Fedele - Christoph Pregardien/Cecilia Bartoli

Tracks:

  1. Atto Secondo. Recitativo: Odi, E Serba Il Segreto - Oliver Widmer/Patricia Petibon
  2. Atto Secondo. Aria: Tu Mi Sprezzi, E Mi Deridi - Patricia Petibon
  3. Atto Secondo. Recitativo: No, Non Mi Pento - Oliver Widmer/Markus Schafer
  4. Atto Secondo. Aria: Ah, Si Plachi Il Fiero Nume - Markus Schafer
  5. Atto Secondo. Recitativo: Va Pur, Folle - Oliver Widmer/Scot Weir
  6. Atto Secondo. Aria: Teco Lo Guida Al Campo - Oliver Widmer
  7. Atto Secondo. Recitativo: Ben Simulati Io Credo - Scot Weir/Christoph Pregardien/Cecilia Bartoli
  8. Atto Secondo. Recitativo Accompagnato: Armida...Oh Affanno! - Christoph Pregardien/Scot Weir
  9. Atto Secondo. Aria: Cara, E Vero, Io Son Tiranno - Christoph Pregardien
  10. Atto Secondo. Recitativo Accompagnato: Barbaro! E Ardisci Ancor - Cecilia Bartoli
  11. Atto Secondo. Aria: Odio, Furor, Dispetto - Cecilia Bartoli
  12. Atto Secondo. Recitativo: Eccoti Alfin, Rinaldo, Reso - Scot Weir/Christoph Pregardien
  13. Atto Secondo. Aria: Prence Amato, In Questo Amplesso - Scot Weir
  14. Atto Secondo. Recitativo: Ansioso Gia Mi Vedi - Christoph Pregardien/Cecilia Bartoli/Scot Weir
  15. Atto Secondo. Terzetto: Partiro, Ma Pensa, Ingrato - Cecilia Bartoli/Christoph Pregardien/Scot Weir
  16. Atto Terzo. Recitativo Accompagnato: Questa Dunque E La Selva - Christoph Pregardien
  17. Atto Terzo. Aria: Torno Pure Al Caro Bene - Patricia Petibon
  18. Atto Terzo. Recitativo Accompagnato: Qual Tumulto D'idee M'eccita In Seno - Christoph Pregardien
  19. Atto Terzo. Aria: Ah, Non Ferir: T'arresta - Cecilia Bartoli
  20. Atto Terzo. Recitativo Accompagnato: Che Inopportuno Incontro! - Christoph Pregardien/Cecilia Bartoli
  21. Atto Terzo: (Presto: Oh Dio! Dove Mi Trovo?) - Christoph Pregardien
  22. Atto Terzo. Aria: Dei Pietosi, In Tal Cimento/Recitativo Accompagnato: Ed Io M'arresto? - Christoph Pregardien
  23. Atto Terzo: Marcia - Concentus Musicus Wien/Nikolaus Harnoncourt
  24. Atto Terzo. Recitativo: Ho Vinto - Christoph Pregardien/Scot Weir/Cecilia Bartoli/Oliver Widmer/Patricia Petibon
  25. Atto Terzo. Finale: Astri Che In Ciel Splendete - Cecilia Bartoli/Patricia Petibon/Oliver Widmer/Christoph Pregardien/Scot Weir

Amazon.com

Thanks to his omnivorous curiosity, conductor Nikolaus Harnoncourt has revived an authentic masterpiece. Several opera composers--Lully, Handel, and Gluck--had already availed themselves of the amorous and stormy adventures of the knight Rinaldo and the enchantress Armida, drawn from Tasso's Jerusalem Liberated. Composed in 1784, Haydn's Armida was his the final opera he wrote for his patron Prince Esterházy, but it was also the composer's debut opera seria. Even so--and just like Mozart--Haydn knew how to free himself from the rigid and monotonous alternation of aria and recitative that customarily governed this genre. Thus the final act, which unfolds in an enchanted forest, offers us a half-hour of nearly uninterrupted music, even prefiguring the romantic shape of things to come in the 19th century. This recording was made from a concert performance in June 2000 in Vienna's sumptuous Musikverein under the blazing baton of Harnoncourt. The cast is impeccable--including Christoph Prégardien and Patricia Petibon and dominated by the stunning Cecilia Bartoli, who can swerve within a few bars from boiling anger to the most overwhelming amorous pleading. --Franck Erikson

Customer Reviews:

5 out of 5 stars Sexy!.......2007-03-11

I'm not going to rave about Bartoli, we all know what she can do with what approaches sfogato mezzo with an extention to beat the band. And for those of you who care, yes, Marilyn Horne actually did say, "Honey! It's a pretty little voice" to Chris Purdy of WOSU/Columbus. I love Horne, but Bartoli is simply a mezzo of a different color. And so I'm going to rave about Pregardien, which is where the sexy part comes in.

This gentleman is absolutely fabulous with a rich, well-placed and resonant tenor perfectly suited to Haydn's Rinaldo. What a treat he is. According to the blurb he sings Lieder, oratorio and things Baroque and Classical. I want to hear more from this fellow about which Amazon will be pleased.

5 out of 5 stars Sometimes aggressive leadership.......2004-12-14

This recording stunned me.
Cecilia Bartoli can sing softly and less affected as this recording shows one.

All the performers are up to their tasks and they show no fear of Harnoncourt's sometimes aggressive leadership and the Concentus Musicus Wien sounds perfect.

Teldec's recording quality is top notch.

4 out of 5 stars this is an OperaMusic.com - HIGHLY Recommended CD!.......2000-12-27

"Highly Recommended...this is certainly a recording worth having in your collection!"

5 out of 5 stars Period instruments do make a difference.......2000-12-27

Like almost everyone else, I have treasured for over 20 years the Antal Dorati Haydn opera cycle in Philips. At that time, when Philips was run by smart and competent people, we could expect Haydn recordings with the likes of Jessye Norman, Frederica von Stade, Ileana Cotrubas and Luigi Alva; these days we are damned with Bocelli in La Boheme and the Verdi Requiem. Anyway, even if it took more than 20 years for the next recording of Haydn's Armida to appear, it was worth the long wait. The most important contribution is the use of period instruments which help to clarify the textures and the orchestral balance. The excellent Concentus Musicus Wien has Haydn in its blood and plays superbly for Harnoncourt, who next to Frans Bruggen is probably the finest Haydn conductor ever. Cecilia Bartoli covers herself with glory, singing with total command and understanding her difficult character. Jessye Norman was also superb, and it is obvious that both prima donnas understand what a great opera this is. It is true that Claes H. Ahnsjo was more exciting for Dorati than Pregardien is for Harnoncourt, but then he is singing live a terribly difficult and demanding role. Pregardien is more cautious but very good too. The rest of the cast is excellent, and I can recommend this Armida next to William Christie's Alcina and Antonio Pappano's Manon as the three finest operatic recordings of year 2000.

5 out of 5 stars One of the finest recordings of the year.......2000-11-29

I can only congratulate Cecilia Bartoli for choosing this marvelous opera instead of recording another "Barbiere". Smart as she is, she found in Armida a perfect role for her. Christoph Pregardien, a most eloquent Lieder and oratorio singer perhaps lacks the operatic brilliance of Claes H. Ahnsjo in the Dorati recording, but considering how difficult his role is, he also deserves a standing ovation. Harnoncourt conducts with white hot passion, and his formidable orchestra is infinetely superior in every department to Dorati's good, but old fashioned modern instrument band. Can I enter a plea for "Il Mondo della Luna" and "La Fedelta Premiata" ?

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