Tamerlano

Editorial Reviews
Amazon.com
Tamerlano is one of Handel's finest operas, a work filled with deep feelings of love and loyalty, both filial and romantic. This 1970 recording presents more of the opera than any other available. Instruments are modern, but there's drama aplenty, some wonderful singing, crisp playing, and interesting embellishing of da capo sections of arias. Mezzo Gwendolyn Killibrew's dusky, masculine sound is suitable and appealing in the tyrannical title role, while Alexander Young as Bajazet, the opera's emotional center, is terrific--angry, proud, and vocally proficient. Carole Bogard's lovely soprano is just right for Bajazet's determined, adoring daughter, Asteria, and the other soloists are excellent. John Moriarty leads the Chamber Orchestra of Copenhagen with authority. The three CDs sell for the price of two, and the set includes a complete libretto, notes, and translations. Very fine indeed. --Robert Levine

Tracks:

Dell'aura al sussurrar
Dopo un'orrida procella
Di due rai languire costante
L'Orlando finto pazzo: Qual favellar? ... Andero, volero, gridero
Zeffiretti, che sussurrate
La fida ninfa: Alma oppressa
La fida ninfa: Dite, oime
Giustino: Sventurata navicella
Giustino: Sorte, che m'invitasti ... Ho nel petto un cor si forte
L'Olimpiade: Tra le follie ... Siam navi all'onde algenti
Farnace: Gelido in ogni vena
Anch'il mar par che sommerga
Teuzzone: Di trombe guerriere

Amazon.com

Mezzo Cecilia Bartoli could easily rest on her laurels as one of today's most charismatic, characterful singers for her lively portrayals of Mozart and Rossini heroines. But it's been particularly exciting to observe her growth as an artist in exploring the exuberant world of baroque opera, with its range of pyrotechnic demands--both vocal and emotional. Bartoli's show-stopping virtuosity in a Vivaldi aria from her Live in Italy recital gave a tantalizing sample of her finesse in that style. For The Vivaldi Album, Bartoli conducted extensive research into the composer's manuscripts, (a documentary tracing her quest is planned for subsequent international screening). Although he's best known for his concertos--in typically baroque fashion, two of the arias in fact recycle material from The Four Seasons--Vivaldi was a ferociously prolific composer of operas for the cutting-edge theaters of his time, and the arias gathered here demonstrate the word-painting magic of his music, from the sylvan setting of dueting flageolets in "Di due rai languire costante" to the storm-tossed passions of "Anch'il mar par che sommerga," where Bartoli spins out ripples of rapid-fire coloratura with a gravity-defying accuracy that will leave your head spinning. In addition to many such examples of vocal acrobatics, Bartoli brings exquisite nuance and limpid tone to the delicate echo effects of "Zeffiretti, che sussurrate," and there's no better test for the remarkable flexibility of her range--full and dusky at the bottom and thrilling at the top--than the huge intervallic leaps of "Dopo un'orrida procella." With her naturally large voice, Bartoli can at times tend to histrionic excess (in the recitative to the short aria from "L'Orlando finto pazzo"), but the expressive color of her phrasing is wonderfully matched throughout by the Giardino Armonico's lively panache. All power to Bartoli in her goal of reviving this neglected aspect of Vivaldi's output. --Thomas May

Customer Reviews:

Cecilia Bartoli brings Baroque music to life.......2005-08-24

This album is so good that it has converted me to liking Vivaldi! I'm a fan of other Baroque composers such as Bach, Telemann, Couperin and Handel but had never really appreciated Vivaldi until I heard this album. Cecilia's technical experise and her intense interpretation makes this album a delight to listen to. She brings Vivaldi's arias to life as I've heard no other performer manage to do so. A brilliant album that I listen to again and again.

A Revelation.......2003-11-05

I was amazed with this album of super fine music. I had known all my life that Vivaldi wrote tons of operas, but finding them, or the scores of them, was nearly impossible. In time I found a few, and was I ever amazed and disappointed. The published scores that were available were what was common practice of that time: there were the vocal lines and a figured bass and nothing more. There were no indications of orchestration. Even with that little bit, I was shocked with the intensity and complexity of this vocal writing. This man knew how to write for the voice. Until singers are willing to research his works, we, the public, will know him for a very orchestra suites and nothing more. The result will be a very stilted view of what the man had to offer.

Now getting to the performance by Bartoli. She really loves this music, as you can tell. Yes, she is mannered in some of the things she does, but that is her way of seeing the music. Her technical skills are amazing, and her interpretations (the "drama" behind the music) is just as intense. Some think Bartoli has a strong voice. Actually, her voice is very small, if you have heard her in performance (they weren't even sure she would be heard when she sang at the Met), and it has a very delicate quality, even when being "brash." Recordings give you the impression she has a much larger sound than she does, but that is because small voices record truer and better than large ones (the industry still can't capture large voices at all). However, even with a small voice, in performance she is breathtaking. She makes the music live. She has weird mannerisms one sees that to American trained singers are completely unacceptable (weird facial expressions, strange things done with he mouth and teeth, head bobbing, etc), but that has never distracted from her overall intensity. Yes, she is intense. You are literally taken away with her interpretation, and her skills. Interestingly, she is more famous in music circles for her cancelations (she cancels more performances in a year than she actually sings). I love this recording, not only because of the music, but because I have seen her sing some of this music live. She really LIVES what she sings, and that comes across in this recording.

A special note: in the little booklet that comes with the recording, Bartoli herself writes her impressions of this music. It is extremely insightful. Whether you like her or not, you have to admire the work she has done to make this music live and be as authentic in interpretation as she can. It is her love of this music that has caused her to record this album. I am thankful she did, for now, I can take those old scores I have and get a better understanding of what the composer was doing. Would that more singers would explore new/old works, and I think it would be far more interesting to have them write their impressions of the music they are singing than the standard academic essays we must read. Reading about how she came to this music, in her own words, gave a different dimension to listening. Now I was listening to see if she was successful in communicating what she felt this music had to offer. SHE WAS.

The best work of Cecilia Bartoli.......2003-08-15

This is simply the best work of Cecilia Bartoli. Her voice is a delicatessen and Il Giardino Armonico sounds very very well. I think that I don't need to say anymore. Simply: BUY IT!!

The art of singing, still with us.......2003-02-09

Even if you disdain Vivaldi in the Stravinsky way, do yourself
a favor, and get this record. Music hidden in some obscure
library for centuries, brought to pulsating life by a minor
voice, here used with passion and artistry reminding one of
vocal artists of the past. An enriching experience for anyone
enjoying the art of singing.

Great music, but disappointment.......2002-10-01

I thoroughly enjoy classical music but found this cd to be a disappointment by a heavy vocal performance. It was shocking to hear the heaviness and darkness in Cecilia's voice, whom I had remembered to be lighter and more playful. My only good thought about this cd is "At least it was a gift" because if I had actually purchased it I would be thoroughly disgusted.

Average customer rating:

A truly amazing artist
About time I said how good this recording is!
a voice teacher and early music fan
Stellar Performance and a Sign of the Greatness to Come
David Daniels: La voz del barroco.

Handel: Opera Arias; David Daniels
David Daniels , George Frideric Handel , Roger Norrington , and Orchestra of the Age of Enlightenment
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
Similar Items:

Sento Amor; David Daniels;
David Daniels - Serenade
Handel: Oratorio Arias
Stephanie Blythe - Handel & Bach Arias / David Daniels · Ensemble Orchestral de Paris · John Nelson
Rinaldo

ASIN: B00000FDND
Release Date: 1998-12-01

Tracks:

Serse: Recitativo accompagnato Frondi tenere
Serse: Larghetto Ombra mai fu
Giulio Cesare In Egitto: Aria Va tacito e nasacosto
Giulio Cesare In Egitto: Aria Al lampo dell' armi
Giulio Cesare In Egitto: Recitativo accompagnato Dall' ondoso periglio
Giulio Cesare In Egitto: Aria Aure, deh, per pieta
Tamerlano: Aria A dispetto
Ariodante: Recitativo E vivo anora
Ariodante: Aria Scherza infida
Giulio Cesare in Egito: Aria Cara speme
Giulio Cesare In Egitto: Aria L'angue offeso
Rodelinda: Sinfonia Pompe vane di morte
Rodelinda: Largo Dove sei?
Rodelinda: Aria Vivi, tiranno
Rinaldo: Largo Cara sposa, amante cara
Rinaldo: Aria Venti, turbini

Amazon.com

David Daniels seems to be the current leader of the opera world's March of the Falsettos--and with good reason: he's one of the first countertenors with enough beef in his voice to sound convincing in the heroic castrato roles of Handel's operas. His first solo disc is a collection of arias from just those roles--and an impressive debut it is. Daniels has the solid coloratura technique a Handel singer needs and a quick, narrow vibrato that can blend with Baroque instruments without alienating traditional opera buffs. (In fact, he sometimes sounds surprisingly like Marilyn Horne, one of his coaches.) Best of all, he has a musicality and dramatic sense that save the laments and slow serenades from dullness and the bravura showpieces from empty virtuoso display. The performances aren't flawless: Norrington's tempos are occasionally too quick for comfort (Daniels's and the listener's), and Daniels's vibrato sometimes spreads unattractively at the top of his range. He's at his best in the low alto roles that Handel wrote for the great castrato Il Senesino, such as the title roles in Giulio Cesare and Orlando. Let's hope we get to hear him in complete recordings of these operas soon. --Matthew Westphal

Customer Reviews:

A truly amazing artist.......2007-06-21

David Daniels is one of the finest singers alive. I heard him recently in the Met's Julius Caesar and was overwhelmed with his performance. He not only has a truly beautiful voice, he is a complete artist, both emotionally and technically. This recording does him justice, and the music is some of Handel's finest. We are very lucky to have Mr. Daniels.

About time I said how good this recording is!.......2006-10-02

I've had this CD for a few years now and it is one that I often play. David Daniels is a great singer and his interpretations of Handel's arias are sublime. He is one of the best countertenors currently working in the world and he has few peers - Andreas Scholl, Bian Asawa, Derek Lee Ragin, Daniel Taylor, Robin Blaze, Lawrence Zazzo, Philippe Jaroussky, Gérard Lesne, Bejun Mehta and, of course, James Bowman are his only serious rivals.

This collection is well selected and it includes popular arias as well as a few less well known ones.

The Orchestra of the Age of Enlightenment is in magnificent form and Sir Roger Norrington gets magic from the various sections of the orchestra - particularly the Baroque bassoons in "Scherza infida".

This album is both a showcase for the singer and the orchestra. It is vastly superior to most Handel opera aria collections.

I unreservedly recommend this superb disc to all music lovers.

a voice teacher and early music fan.......2006-06-24

David Daniels has devised this program so that it provided a view of Handel at the most significant stages in his London career as an opera composer. With his spectacular debut in England with 'Rinaldo'(1711), he established his ability to compose for the stage, and immediately followed it with 3 masterpieces: 'Tamerlano' and 'Guilio Cesare in Egitto', both from 1724, and 'Rodelinda' the next year. The unique 'Serse' (1738)is from the twilight of his operatic career, while 'Ariodante' shows a time when Handel and his London company was having difficulty competing with the rival Opera of the Nobility sponsored by the Prince of Wales.
Handel's greatest contribution to operatic history is his ability to rise above the sterertypical in his characters, endowing them with a total humanity by allowing them to experience the entire emotional gamut throught a variety of arias and recitatives. Moreover, David Daniels , being one of the finest interpreters of Handel is aware of the need not to be so blinded by the purity of the musical line as to forget what he is singing about. In fact, Handel often shaped the melodic line according to the degree a particular word was to be stressed. Handel was very aware of new devlopments, and styles and attitudes of his time, without ever betraying his own musical personality.
To my mind, Daniels is the consummate Handelian singer, and it is probably this music that he performs best! His delivery is highly dramatic as it should be, his diction absolutely flawless, his tone quality strong and sonorous; in short he is one good singer! It is indeed a very fine disc, not only because of the line-up but also because all arias are sung extremely well by him. I found myself focusing on his selection from "Serse": "Ombra mai fu". He sings this so much more emotionally and endows it with his own unique style. It's so well-done!!! My other favorite is from "Rinaldo": Venti,turbini". This displays his very skillful vocal technique in addition to his excellent diction. I really think he is the leading AMERICAN countertenor.

Stellar Performance and a Sign of the Greatness to Come.......2004-08-10

It is hard to imagine that there could be a finer recital disc of Handel's arias than this one reflecting the exquisite taste and powerful talent of David Daniels...unless of course, you count his splendid follow-up disc of Handel's lesser known oratorio arias released in 2002 (also strongly recommended). But the focus in this 1998 release is the rich music within six of Handel's best-known operas. Now nearly six years after its release, this recording not only holds up beautifully as an introduction to his prodigious talent, but also demonstrates his keen sense of adventure when his voice was at its most pure and unfettered.

Daniels' coloratura technique is amazingly seasoned even at this point of his career, and he approaches each aria in a singular fashion with that incredibly flexible legato that is literally breathtaking. Compare the impressive runs he employs on his rendition of "A dispitto" from "Tamerlano" to his seductive and sonorous tones on "Aure, deh, per pietà" from "Giulio Cesare in Egritto", and you get an idea of the range of emotion and technique of which Daniels is capable. Listening to the two arias from "Rodelinda" will make you recognize how over the course of twelve minutes, he has shown the two distinct sides of Bertarido - the mournful, dejected husband who goes unrecognized in "Pompe van di morte...Dove Sei?" and his enemy's savior at the end with "Vivi, tiranno".

The two arias from "Rinaldo", are also beautifully performed. Six years later, one can appreciate these versions within the context of Daniels' career, as he later recorded the title role in the famous 2000 recital recording of the opera with Cecilia Bartoli and yet again in the 2001 David Alden staging of the opera captured recently on DVD. I recommend getting your hands on all three and comparing the performances, as all are wonderful but quite different. Personally I think his voice ripened to just the right timbre in the Alden-staged version, especially during the opera's centerpiece, "Cara sposa, amante cara". Of all the stellar selections, it is really difficult to pick just one as a favorite, but his version of "E vivo ancora....Scherza infida" from "Ariodante" is especially moving in the way he sings of his plight in being humiliated by an unfaithful woman. Written for a castrato named Carestini in 1735, it is a sublime piece made all the more moving by the warm, round tones Daniels brings to it.

Sir Roger Norrington and the Orchestra of the Age of Enlightenment provide able accompaniment on period instruments, never intrusive or jarring to the ears. It is easy to tell from this recording why Daniels received so much hype for bringing the countertenor voice to the mainstream and why his career has been so meteoric since the release of this disc. Now you can see that it was more than hype...David Daniels is the real thing.

David Daniels: La voz del barroco........2003-10-26

Para los amantes del barroco en su estado puro es esencial tener este cd en el cual el gran contratenor DAVID DANIELS repasa las arias mas celebres de las operas de George Friederich Haendel. Daniels impone una voz bella, muy femenina, homogenea en todo el registro, sin problemas en los agudos, y que enamora nada mas oirla. Ademas canta las arias con un extraordinario sentimiento. ROGER NORRINGHTON dirige a la ORQUESTA DEL SIGLO DE LAS LUCES (que suena magnificamente con sus instrumentos originales) con gran conocimiento del estilo barroco, lo que termina de hacer de este disco una pieza fundamental para los amantes de la opera barroca, que afortunadamente son cada vez mas.

Average customer rating:

Monumental Recording
Simply fantastic
Marvellous fun and great singing
Worth it!
Gorgeous,but one tiny qualm !

Vivaldi: Bajazet [Includes Bonus DVD]

Manufacturer: Virgin Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
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Vivaldi: Orlando Furioso
Lamento
Vivaldi: Griselda
Handel - Saul / Joshua · Bell · Zazzo · Ovenden · Saks · Slattery · RIAS Kammerchor · Concerto Köln · Jacobs

ASIN: B00022LE38
Release Date: 2005-05-10

Tracks:

Allegro
Andante Molto
Allegro
Recitativo: Prence Lo So: Vi Devo
Aria: Del Destin Non Dee Lagnarsi
Recitativo: Non Si Perda Di Vista
Aria: Nasce Rosa Lusinghiera
Recitativo: Principe, Or Ora I Greci
Aria: In Si Torbida Procella
Recitativo: Il Tartaro Ama Asteria
Aria: Quel Ciglio Vezzosetto
Recitativo: Or Si, Fiero Destino
Aria: Vedeste Mai Sul Prato
Recitativo: Non Ascolto Piu Nulla
Aria: Amare Un'alma Ingrata
Recitativo: Cosi La Sposa Il Tamerlano Accoglie?
Aria: Qual Querriero In Campo Aramato
Recitativo: E Bella Irene
Aria: Non Ho Nel Sen Constanza
Recitativo: Amico, Tengo Un Testimon Fedele
Recitativo: Sarete Or Ostinato
Aria: Anche Il Mar par Che Sommerga
Recitativo: Gloria, Sdegno Ed Amore
Aria: Stringi Le Mie Catene

Tracks:

Recitativo: Ah, Disperato Andronico!
Aria: La Sorte Mia Spietata
Recitativo: Signor, Vergine Illustre
Aria: Cruda Sorte, Avverso Fato!
Recitativo: Senti, Chiunque Tu Sia
Aria: La Cervetta Timidetta
Recitativo: Gran Cose Espone Asteria
Aria: Sposa, Son Disprezzata
Recitativo: Dov'e Mia Figlia, Andronico?
Aria: Dov'e La Figla?
Recitativo: Asteria, Siamo Al Soglio ...
Quartetto: Si Crudel! Questo E L'amore
Recitativo: Figlia, Siam Rei
Aria: Veder Parmi, Or Che Nel Fondo
Recitativo: Andronico, Il Mio Amore
Aria: Barbaro Traditor
Recitativo: Lascero Di Regnare
Aria: Spesso Tra Vaghe Rose
Recitativo: Eccoti, Bajazette
Arioso: Verro Crudel, Spietato
Recitativo: Signor, Fra Tante Cure
Aria: Son Tortorella
Recitativo: Signore, Bajazette
Accompagnato: E Morto, Si, Tiranno
Aria: Svena, Uccidi, Abbatti, Atterra
Recitativo: Deh, Tu Cauto la Segui
Coro: Coronata Di Gigli E Rose

Amazon.com

This stunner of an opera involves the proud sultan Bajazet (bass) and his battle with his bloodthirsty rival-tyrant Tamerlane (counter-tenor). More than 50 operas were composed on the subject. Here Vivaldi has composed all the recitatives and marvelous arias for the dignified, fine characters and used arias by other composers--Hasse, Giacomelli, Carlo Broschi--for Tamerlano and the nasties. The music is energetic and virtuosic throughout. Fabio Biondi leads Europa Galante and soloists with urgent, theatrical precision, making the story come to life. The singing could not be better: Ildebrando d'Arcangelo is a remarkably sympathetic Bajazet, singing with fluency and power; David Daniels amazes as Tamerlano; Marijana Mijanovic sings the role of Asteria (Bajazet's daughter) with love and precision; and Viveca Genaux dazzles with her perfect coloratura as Irene. This is a treasure trove of singing, and a bonus DVD allows us to see/hear the performers in rehearsal. Highly recommended. --Robert Levine

Customer Reviews:

Monumental Recording.......2007-03-14

From the same composer that
brought us "The four Seasons"
Antonio Vivaldi, comes this
'dramma per musica' it tells
us the story of Bajazet, a Turkish
leader who ruled vast portions of
the Ottoaman empire, and his defeat
by his great foe, Tamerlano(Timur Lenk).
In the past composers like Handel and
others had taken an interest in the story.
This is the World Premiere recording of
the work. Much musicological research was done
by conductor and violinist Fabio Biondi and others
to put together this monumental recording.As personally
for me this is the first complete opera that
I hear by Vivaldi. This opera comes with a
DVD that features all six soloists in an aria.
Europa Galante and Maestro Biondi do a wonderful
job, and the soloists are great. Wonderful work,
thank you Maestro Biondi...

Simply fantastic.......2007-02-28

This is one of the best recordings that I have bought recently. The entire opera is a treasure, and they couldn't have picked a better cast. Vivica Genaux, Elina Garanca, and David Daniels are especially strong, and Fabio Biondi's orchestra is always clean and polished. The recording quality is also top-notch. It's unlike me not to offer some kind of a criticism, but I can't think of one for this recording. Highly recommended.

Marvellous fun and great singing.......2006-09-19

I have to say that I prefer Handel's Tamerlano for musical reasons. However, Vivaldi's opera on the same subject is very enjoyable and entertaining. Like it has been said of the operas of Haydn, Vivaldi's operas are not great operas, but they do contain great music.

Europa Galante, directed from the 1st violin by Fabio Biondi, is in great form and I've never heard them play better. I have their older recording of Handel's opera Poro, and I enjoyed that one, too.
The singers here are an excellent ensemble. I like the dark and expressive voice of Ildebrando D'Arcangelo - he was also marvellous as Leporello in Gardiner's Don Giovanni. David Daniels is fantastic, as usual, and he is possibly the best operatic countertenor in the world at the moment. Patrizia Ciofi is best heard and not seen - sweet voice coming from a madwoman (check out the DVD!). Vivica Genaux has been hyped to within a centimetre of her life recently. She has a nice flexible mezzo voice. A little too much vibrato for my tastes and she looks like a chipmunk when she attacks coloratura passages. Marijana Mijanovic sings well - she was excellent as the neurotic Penelope in the Christie / L.A.F. DVD of Monteverdi's Il Ritorno d'Ulisse in patria. She is alarmingly thin - possible health problems? She doesn't engage with the conductor or orchestra at all in the DVD - the only singer who doesn't. Elina Garanca looks beautiful (and healthy!) and sings beautifully. She has a lovely contralto voice. I hope I see and hear more from this artist in the future.

I am not a big fan of Vivaldi's operas - I enjoy them as collections of arias. I wonder how well Bajazet worked on stage?
I'd love to have a DVD of this production, I would like to see how a Vivaldi opera works on stage. Vivaldi's operas don't have imaginative scorings and the orchestral passages are fairly prosaic. A lot of what goes on in the Vivaldi operas I've heard (I have a few in my CD collection) is pretty routine. However, I am open minded on the subject and I would like to see how well a Vivaldi opera works on stage.

Worth it!.......2006-05-23

This album exceeded my expectations. In the true pasticcio form, Vivaldi copied and pasted other composers' work, and his own of previous operas. The arias are un-paralleled in harmony, balance, up-beat rhythm, and beauty. The orchestration by Fabio Biondi is first rate and world class. Vivica Genaux rocks in her interpretation of "Qual Guerriero in Campo Armato" as so much energy, control, and speed are gushed out at once and sustained without wavering. Her ornamentation in the da capo aria is amazing. Vivica's voice is powerful, ethereal, and acrobatic. She recreates what a castrato voice might have sounded like, beautiful and strong. While Vivica sings perfectly the most demanding and technically difficult aria of the opera, Ciofi delights us with the most beautiful "Nasce rosa". After listening to her, it would be near to impossible to imagine anyone else singing this aria with such charm. But what she excelled at "Nasce", she lacked at "Anche il mar". This aria is perhaps as technically and impossibly challenging as "Qual guerriero", but Ciofi's coloratura is discontinuous. Cecilia Bartoli executes this aria in her Vivaldi Album stunningly in one breath. If there was ever a team of opera gold medalists, that team is put together in this album. Ildebrando's "Dov'e la Figla?" is a handsome showcase of his voice and strong presence. While his singing is worthy of high praise, his hand movements and wedding band flashing might have already cost him 90% of his fan base, not to mention dashing his chances at becoming a teen idol or gay icon. His comportment at the high note of the aria is reminiscent of an opera Olympiad doing a vocal triple summersault in mid-air and sticking a perfect landing. "Dov'e la figlia?" is also an aria that illustrates the great genius of Vivaldi as an opera composer. He wrote very distinct music for the same lyrics and for different registers (basso and castrato) in Bajazet, and Motezuma (with Dominique Visse). At the same time, he used the identical music for two different lyrics in Motezuma, and Orlando Furioso (Sorge l'irato Nembo).The bonus DVD proves not only interesting but also very entertaining at the gesticulations and facial configurations sometimes taken for granted to sing bel canto's finest arias. Superb job!

Gorgeous,but one tiny qualm !.......2006-04-20

While I agree with all the good things that have been written of this splendid perfomance,there is a small,but I feel important, detail about the recording which I find vexing.
When a recitative is is sung the performers are placed across the audio stage,disposed left or right,as you will.When an aria is sung ,the soloist leaps to the very center of the sound stage, which is quite disconcerting,especially when listening through headphones.This points to the arias and recits being recorded in separate sessions.Nothing wrong with that given the ravishing perfomance.Well worth the purchase price.

Average customer rating:

Seriously incredible Handel
Stunning Work From One of the Top Handel Interpreters
Outstanding!
Don't overlook this special gem!

Sandrine Piau - Handel Opera Seria
Sandrine Piau , Christophe Rousset , Les Talens Lyriques , and Georg Friedrich Handel
Manufacturer: Astree
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Vivaldi: Bajazet [Includes Bonus DVD]

ASIN: B000678KLI
Release Date: 2005-01-18

Customer Reviews:

Seriously incredible Handel.......2005-11-15

If you don't like Handel recitals that come with a lot of hype, be warned that this album comes with a heavy load of uniform critical praise, plus raves and adoration of music aficionados. It may not be selling as well as it should, as there is a law in the music business that declares "Handel album without Ombra Mai Fu shall be treated with utmost suspicion" but just look at the reviews here. In the press, this CD has been called astonishing, amazing, peerless, superb, blah blah blah and also the "best Handel aria recording ever made by a soprano." Hyperbole aside, does it live up to the hype? It doesn't just live up to it, it walks all over it. I have had this album for months, but every time I try to write something about it, I end up listening to it over and over again, instead of writing about it.
Piau's voice is light, perfectly focused, like a bright laser beam, absolutely even from top to bottom and with incredible high notes. Her technique is perfect, same for breath control. Her speed and impossibly precise runs defy laws of nature. But of course just that would not be enough for stellar Handel performance of this calibre; she is also a gifted actress who is able to show dramatic colours in every single aria. There is not a single track here which is not a fascinating study of the character, and her interpretations are varied and very memorable: Berenice, fiery, defiant, Cleopatra in her mournful lament... To fully credit Piau's interpretive gifts, I would have to list every aria on this CD. And she chooses such great pieces, many seldom heard at all, all arranged in an imaginative, stimulating programme.
I usually have a bone to pick with Baroque ornamentations from the current singers, having been brought up on a steady diet of Emma Kirkby, Julianne Baird and Lorraine Hunt, who not only improvise their ornamentations, but do it so brilliantly. Sandrine Piau joins this illustrious club of the Ornamentators Par Excellence; her ornamentations are written in (largely by Rousset) but they are just glorious.
The Les Talens Lyriques orchestra under Christophe Rousset, Piau's frequent collaborator in live performances, plays great, though if I had one tiny complaint about this album, it would be that laws of physic do mar their performance a little bit: Piau's voice can move faster than these period instruments, and she sometimes whizzes by the orchestra very slightly ahead of them, in the fast arias. This is actually most evident in the fireworks of the opening aria, Scoglio d'immota, but that's only because she takes it at such superhuman speed, they have to play for their life just to stay with her.
Last but not least, I actually like the cover of this album, I think Piau looks cool, like a porcelain doll. Not that this album would be any less awe inspiring if it came wrapped in brown sandwich paper. This is some seriously amazing Opera Seria and if you love Handel's music, this album is an absolute must-have.

Stunning Work From One of the Top Handel Interpreters.......2005-02-20

French soprano Sandrine Piau is not as readily known as other Handelians, at least on this side of the pond, but she is certainly among the most gifted of interpreters as she proves on this wonderful recording of opera arias specifically written for the soprano voice. Even though mezzo-soprano Lorraine Hunt-Lieberson and soprano Renée Fleming have put out superb, higher profile recordings of Handel arias in the past few months, you can still confidently add this one to your collection thanks to Piau's thrilling, expressive vocalism, at once early-music in style with a powerful yet economical use of technique, well-balanced with a wide capacity for accurate coloratura and an immaculate technique sure to please Baroque purists.

Piau displays impeccable taste in her highly personalized program. Instead of going for the more familiar gems like "Ombra mai fú" from "Serse", she has pulled together an anthology of Handelian prime donne that features arias composed over more than two decades. Many are from operas that are relatively obscure but still quite stunning, for example, the defiant "Scoglio d'immota fronte" from "Scipione", the dynamic "Brilla nell' alma un non inteso ancor" from "Alessandro" and the angry, distressed "M'ai resa infelice" from "Deidamia". Even with the better known operas, she choose not the showpieces but the ones that are worthy of rediscovery, such as "Verdi piante, erbette liete" from "Orlando", "Se pieta" from "Giulio Cesare in Egritto", "L'amor ed il destin" from "Partenope" and "Ombre piante, une funeste" from "Rodelinda", in which her painful expressiveness of want certainly gives Fleming a run for her money. Even the order of the program is commendable, as it reflects a wide gamut of emotions that make the recording feel like one cohesive work, even with the variety of characters and dramatic situations and rich vocal demands for which Handel is known. Piau's long-time collaboration with Christophe Rousset, who leads the wondrous and period-authentic playing of Les Talens Lyriques, has produced a seamless rapport that makes this an essential recording. Strongly recommended.

Outstanding!.......2005-02-01

I received this CD a couple of days ago and it has not left my CD player. I was very impressed with her Mozart CD but this one has some fascinating ornamentation and very daring vocal acrobatics. I first heard her in Scipione under Christophe Rousset in 1993 and was very impressed by her contributions. Piau includes the aria "Scoglio d'immota fronte" from Scipione (also on Fleming's Handel disc), this time around showing off her coloratura skills and speed even more than on the complete recording. The rest of the CD is a real treasure of vocal fireworks and beautiful plaintive arias. Highly recommended!

Don't overlook this special gem!.......2005-02-01

It doesn't often happen that a release gets so much unanimous enthusiastic praise from both critics and audiences alike, particularly if the release is from an independent company and the singer is not a heavily promoted "star". But here it is - Sandrine Piau's Handel recital on Naive seems to be outshining many vocal releases of the past year (it was released in 2004) and the reason for this stir is simple: it is a stupendous disc from a great singer who deserves a wider recognition.

Everything is special here, even the cover. In an era when so many solo recitals try to attract us through flashy covers (and often not much more inside), Piau is courageous enough to appear in what may well be one of the most unflattering cover photos ever made. Through this photo, Piau seems to be making a bold statement: "I am not a cover girl, I am an artist".

And what an artist! Every phrase in this recital is delivered with utmost honesty and spectacular technical assurance, nothing is calculated or contrived. What is even more important, every Handelian heroine portrayed here is vividly brought to life. There is not a moment of monotony or routine - the selections cover a variety of moods and allow the artist to display not only her stupendous technique but also phenomenal interpretative gifts.

It is impossible to get tired of Piau's singing! Her voice and singing style should appeal to both camps of opera lovers: devotees of the HIP movement and those who are afraid of HIP because of the stigma of "white, bland voices" that became a trademark of the movement. Piau's voice is small and delicate, but there is nothing "white" or bland about it. It is a gorgeous instrument, flexible and colourful, able to convey a wide range of emotions without resorting to "special effects".

It is of course tempting to compare Piau's recital with the other highly popular Handel discs of 2004 (by Lorraine Hunt, Sarah Connolly, Renee Fleming) but comparisons don't really make much sense here for each of those recitals has its own virtues and each singer her own faithful audience. Yet Piau's disc risks being overlooked in the USA since the French soprano is not quite a household name here (in spite of some marvellous solo recitals in her discography). Let's hope this fantastic new disc will change this. (Kicek)

Average customer rating:

Voice of the Baroque

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Voice Of Mozart
Sacred Classics - Messiah, Ave Maria, Pie Jesu, Zadok the Priest, L'enfance du Christ

ASIN: B0000667S1
Release Date: 2002-05-14

Tracks:

JS Bach: Cantata No. 140: Wachet auf, ruft uns die stimme
Purcell: Oedipus: Music for a While
Handel: Acis and Galatea: O Ruddier Than the Cherry
JS Bac: Bist du bei mir
Vivaldi: Gloria in D major: Gloria in Excelsis Deo
Handel: Semele: Where'er Ye Walk
Handel: Giulio Cesare: Piangero la sorte mia
Handel: Theodora: Defend Her, Heav'n
Handel: Berenice: Si, tra I ceppi e le ritorte la mia fe risplendera
Handel: Judas Maccabaeus: See the Conqu'ring Hero Comes
Handel: Messiah: Comfort Ye My People
Handel: Messiah: Ev'ry Valley Shall Be exalted
Handel: Messiah: O Thou that Tellest Good Tidings to Zion
Handel: Messiah: Behond, I Tell You a Mystery/The Trumpet Shall
Handel: Messiah: He Shall Feed His Flock
Handel: Messiah: Hallelujah

Tracks:

Handel: Samson: Let the Bright Seraphim
Scarlatti: L'onesta negli amori: Gia il sole dal Gange
Schutz: Musikalische Exequiem: Motet "Herr, wenn ich nur dich hab"
JS Bach: Sheep May Safely Graze
Handel: Serse: Ombra mai fu
JS Bach: Susser Trost, mein Jesu kommt
Monteverdi: L'Incoronazione di Poppea: Pur ti miro
JS Bach: Jesu, Joy of Man's Desiring
Purcell: The Indian Queen: I Attempt from Love's Sickness to Fly
Giordani: Caro mio ben
Vivaldi: Bajaset: Anch'il mar par che sommerga
JS Bach: Komm, susser Tod
Purcell: Dido and Aeneas: Dido's Lament: When I Am Laid in Earth
JS Bach: St. Matthew Passion: Ich will bei meinem Jesu wachen
JS Bach: St. Matthew Passion: Erbarme dich, mein Gott
JS Bach: St. Matthew Passion: Wir setzen uns mit Tranen nieder

Average customer rating:

interesting classical music collection...
Fantastic Classical Compilation

Exile On Classical Street

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Decca Records Store | Specialty Stores | Music
ASIN: B00000429J
Release Date: 1996-08-13

Tracks:

Ritual Fire Dance
The Rite Of Spring (Excerpts): First Part: Adoration Of The Earth: The Augurs Of Spring - Dances Of The Young Girls
The Rite Of Spring (Excerpts): First Part: Adoration Of The Earth: Ritual Of Abduction
Enigma Variations (Excerpts): VIII. Troyte
Enigma Variations (Excerpts): VIII. W.N.
Enigma Variations (Excerpts): IX. Nimrod
Rhaphsody in Blue (Excerpt)
Beim Schlafengehen
Adagio For Strings
Sposa Son Disprezzata
Violin Concerto No.4: Rondeau
Gloriana - The Courtly Dances: March
Gloriana - The Courtly Dances: Corante
Gloriana - The Courtly Dances: Pavan
Gloriana - The Courtly Dances: Morris Dance
Gloriana - The Courtly Dances: Galliard
Gloriana - The Courtly Dances: La Volta
Gloriana - The Courtly Dances: March (Finale)
String Quartet No. 8 In C Minor: Largo
Clair De Lune
Pictures At An Exhibition (Excerpt): The Great Gate Of Kiev

Customer Reviews:

interesting classical music collection..........2004-12-16

This is an interesting classical music collection that is as their personal favorites. My personal faves are by Manuel De Falla (selected by Steven Tyler), a Mozart piece (Keith Richards), Benjamin Britten (Paul McCartney) and Modest Mussorgsky (Trevor Rabin). It includes a 12 page booklet written by Boston DJ Carter Alan with quotes from each musician on why they choose what they did. The other musicians who picked their favorites include Bruce Hornsby, Elton John, Brian Wilson, Marianne Faithful, Michael Stipe, Bono and Frank Sinatra.

Fantastic Classical Compilation.......1999-12-24

This is one of the best classical compilations around - and these are the pieces that inspired other musicians. Rock musicians at that. Lots of good stuff here, including a heartrending rendition of Sposa son Disprezzata, sung by Cecilia Bartoli. Great fun.

Average customer rating:

Wonderful
PLEASE...
A great introduction to CB
Not her best work!
Sampler of Bartoli's recordings over the years

Art of Cecilia Bartoli (Dig)
Cecilia Bartoli
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Cecilia Bartoli - Live in Italy / Jean-Yves Thibaudet
Cecilia Bartoli ~ Opera Proibita (Handel · Scarlatti · Caldara) / Les Musiciens du Louvre · Minkowski
Cecilia Bartoli - Mozart Arias
Cecilia Bartoli - A Portrait
Cecilia Bartoli - An Italian Songbook (Bellini, Donizetti, Rossini)

ASIN: B00006JIC4
Release Date: 2002-10-01

Tracks:

Handel: Lascia ch'io pianga" (from Rinaldo)
Handel: "Scherzano sul tuo volto" (from Rinaldo)
Vivaldi: "Dell'aura al sussurrar" (from Dorilla in Tempe)
Vivaldi: "Gelido in ogni vena" (excerpt) (from Farnace)
Vivaldi: "Anch'il mar par che sommerga" (from Il Tamerlano)
Gluck: "Di questa cetra in seno" (from Il Parnaso confuso)
Gluck: "Se mai senti" (excerpt) (from La clemenza di Tito)
Mozart: "Non so piy cosa son, cosa faccio" (from Le Nozze di Figaro)
Mozart: "Voi che sapete" ((from Le Nozze di Figaro)
Mozart: "L` ci darem la mano" (from Don Giovanni)
Mozart: "Un moto di gioia" (from Le Nozze di Figaro)
Mozart: "Pa-Pa-Pa-Pa" (from Die Zauberflvte)
Rossini: "Nacqui all'affanno ... Non piy mesta" (from La cenerentola)
Rossini: "Dunque io son...tu non m'inganni?" (from Il barbiere di Siviglia)
Rossini: "Squallida veste, e bruna" (from Il turco in Italia)
Donizetti: "Una parola, o Adina ... Chiedi all'aura" (from L'Elisir d'amore)
Verdi: "Libiamo ne'lieti calici" (Brindisi from La Traviata)

Customer Reviews:

Wonderful.......2005-10-02

This is a fabulous album!!! Her arias by Handel, Gluck, Mozart, and Rossini are unbelievable. Her and Bryn Terfel sound great together, especially on the "Dun'que io son" from Il Barbiere di Siviglia. The Handel duet from Rinaldo, featuring the acclaimed countertenor David Daniels is brilliant!! I, however, do not care for the duets with Pavarotti. Her voice is too light to sing Verdi. Pavarotti's voice is also not what it used to be. I'm still rating it with five stars, because despite a couple of bad duets with Pavarotti, the album is a wonderful collection of Cecilia Bartoli.

PLEASE..........2005-08-31

I don't understand why Cecilia Bartoli is loved for a lot of people. In a many cases, there are high notes with estridence, gasping, and also the vibrato is excesive . If you want to enjoy a great Rossini's opera, listen Maria Callas and Victoria de los Angeles.

A great introduction to CB.......2003-10-13

Cecilia Bartoli has been around since the 1980s, and her career has been nothing short of spectacular. This CD provides a great introduction to her world, but most Bartoli lovers will already have most of the tracks on this CD. This CD opens with 2 extracts from her recording of Rinaldo, with David Daniels in the title role. She gives a moving performance of Lascia ch'io pianga, and a delightful rendition of the duettino with David Daniels. The CD then moves on to excerpts from Cecilia's most popular album to date - The Vivaldi Album. This album consists of mainly world premiere recordings, and the 3 samples we get here show Cecilia's ability to move, amazing coloratura ability, and the skill to popularize rare pieces. Indeed, the next samples, from the Gluck CD, also contains world premiere recordings, and we get to hear 'Di questa cetra in seno' beautifully sung, and also 'Se mai senti', which is devastatingly heartbreaking. Of course, we get a large portion of Mozart, a composer central to her career, and Cherubino's 2 arias, are delightfully sung, as is 'Un moto di gioia'. 2 duets with Bryn Terfel are also featured, from their album Cecilia and Bryn. Rossini is another composer associated strongly with her, and she show off her vocal acrobatics and extraordinary range in 3 excerpts, from Le Cenerentola, Il Barbiere, and Il Turco in Italia. Lastly, there are 2 previously unreleased duets with Pavarotti, which are more commercial, but they are fun nonetheless.

Overall, this is a great introduction to Cecilia and her singing, though if you are already a fanatic you will not find much new here.

Not her best work!.......2003-02-10

Don't get me wrong, Cecilia Bartoli is one of my favorite singers, but this just was not her best work! Most of the pieces on this CD are the'popular' arias, but are not the arias that represent her the best. If you want to hear cecilia at her best listen to her Rossini CD's, as well as her Italian Songbook CD.

Sampler of Bartoli's recordings over the years.......2002-12-01

Soprano Cecilia Bartoli garnered international acclaim with her first recording fourteen years ago and has continued to build on that success. This CD is a sampler of her recorded work over those years, supplemented by two new duets with Luciano Pavarotti. Ranging from the languid sorrow of Handel's Lascia ch'io pianga to the good cheer of Verdi's Libiamo ne' lieti calici, these operatic duets and arias are a wonderful cross-section of Bartoli's career to date, demonstrating her remarkable range of emotional expression.

Bartoli is a master of technique, as shown in her astounding performance of Vivaldi's frenetic show-stopper Anch'il mar par che sommerga. She also has a glorious timbral command, darkening her tone color to superb effect in that same composer's Gelido in ogni vena. This is one of the highlights of the disc, as Bartoli adds an eerie breathy quality to her voice, singing at the softest possible dynamic level, exactly matching the effect of the text "I feel my blood like ice coursing through every vein./The shade of my lifeless son afflicts me with terror."

Although the majority of pieces are from Bartoli's favored Baroque and Classical period, she also dips into the Romantic era, including works by the Italians Gioachino Rossini, Gaetano Donizetti, and Giuseppe Verdi, although the inclusion of these last two works seems to be at least partially for the marketing strength of Pavarotti's name. Most of the music will be unfamiliar to all but the most devout of operatic connoisseurs, but the "greatest hits" format should draw a wider audience. Only the Verdi and Mozart pieces are likely to be well-known. Certainly the limpid beauty of Bartoli's voice, the artistry of her interpretation, and her unsurpassed technical skill makes this disc worth owning.

Angelo Manzotti - Vivaldi Opera Aria (Arie d'opera)
Average customer rating:

colleratura as they should be: not just a gimmick ....

An interesting interpretation ...

Angelo Manzotti - Vivaldi Opera Aria (Arie d'opera)

Manufacturer: Tactus Records
ProductGroup: Music
Binding: Audio CD

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Angelo Manzotti - Arie di Farinelli

Moreschi - The Last Castrato

Vivaldi: Soprano Cantatas

Vivaldi: Virtuoso Cantatas

Farinelli

ASIN: B00004S2X6
Release Date: 2000-04-11

Tracks:

Orlando Furioso: Nel Profondo Cieco Mondo
L'incoronazione Di Dario: Mi Va Scherzando In Sen
Teuzzone: Sinf: Allegro
Teuzzone: Sinf: Adagio
Teuzzone: Sinf: Allegro
Teuzzone: Sinf: Taci Per Poco Ancora
Giustino: Vedro Con Mio Diletto
Farnace: Sorge L'irato Nembo
Siroe Re Di Persia: Gelido In Ogni Vena
Orlando: Sol Da Te Mio Dolce Amore
L'olimpiade: Siam Navi All'onde Algenti
Il Tamerlano (Il Bajazet): Sinf: Allegro
Il Tamerlano (Il Bajazet): Sinf: Largo
Il Tamerlano (Il Bajazet): Sinf: Allegro
Il Tamerlano (Il Bajazet): Sinf: Sposa Son Disprezzata
Griselda: Agitata Da Due Venti

Customer Reviews:

colleratura as they should be: not just a gimmick ...........2006-05-03

This is a very nice CD for people wanting to get familiar with the castrato sound and with the famous fire work colleratura Baroque in general and Vivaldi in particular is known for.

THe most heard of criticism is that the sopranisto (or counter tenor for that matter) cannot compete with the (natural) skills /agility of -most referred to- mezzo soprano's. People tend to prove their point with pointing to the griselda aria and comparing it to most notedly the version of Cecilia Bartoli. Yes Brtoli has more speed, but is actually performing the almost same collaratura over and over again. Manzotti proves it to be more than just a neat trick and actually uses different collaratura's with different colors and different expressions. Thus making it very exciting to listen to.

The only minus is that sound of the orchestra is not very pronounciated (sorry of that is not correct english).. not like eg Fabio Bondi would do it :-) But overall a hugely enjoyable record with great singing

An interesting interpretation ..........2004-08-04

The Italian sopranist Angelo Manzotti's recitals in the past have often been characterised by a wish to show off his voice with inappropriate cadenzas, as well as questionable ornamentation, whilst claiming to be trying to show the best of baroque bel canto technique. This recital is no exception, consisting of 10 arias from different Vivaldi operas, many of them only now being recorded fully for the first time. So, he is to be commended for bringing some gems to notice, though others, notably Cecilia Bartoli and Marilyn Horne have already recorded one or two (Nel profundo cieco mondo, and agitate da due venti come to mind), and sung them better.

Manzotti's voice has a huge range, as befits a singer whose previous records have included tributes to Farinelli and the castrati who sang for Handel, but it does not always have accuracy of intonation nor pitch. The integration of the registers is also lacking, and so his voice sounds curiously disjointed. Listeners who want to hear a quality sopranist at work would be better advised to try out Philippe Jaroussky or Randal Wong.

The sound is ok on this TACTUS release, as is the accompaniment from the Bologna Baroque Orchestra, though a more defined bass line might be appreciated. There are a number of short orchestral movements from Teuzzone and Il Tamerlano that fill in what is a generous length CD at 75 minutes. Releases such as this one are to be encouraged until Vivaldi's operas receive the sort of acclaim that has recently been the case with Handel.

Emma Kirkby - Handel Opera Arias / Goodman, Brandenburg Consort

Average customer rating:

Handel Arias...Lovingly Played, Triumphantly Sung...MORE, PLEASE!
Amazing virtuosic singing

Emma Kirkby - Handel Opera Arias / Goodman, Brandenburg Consort
George Frideric Handel , Brandenburg Consort , Roy Goodman , Emma Kirkby , Alistair Ross , Katharina Arfken , Robert Farley , and Rachel Brown
Manufacturer: Hyperion
ProductGroup: Music
Binding: Audio CD

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Emma Kirkby sings Handel, Arne, Haydn & Mozart
The Emma Kirkby Collection
Handel "The Rival Queens" Opera Arias and Duets / Bott · Kirkby · The Brandenburg Consort · Goodman
A Purcell Songbook [Australia]
Sandrine Piau - Handel Opera Seria

ASIN: B000002ZXL
Release Date: 1996-05-21

Tracks:

Second Overture to Almira in G minor
Vedrai s' a tuo dispetto (Almira, Act 3)
Perche viva il caro sposo (Rodrigo, Act 3)
Vo' far guerra (Rinaldo, Act 2)
Overture to Silla: Largo - Allegro
Andante
Ah! spietato (Amadigi di Gaula, Act 2)
Destero dall' empia Dite (Amadigi di Gaula, Act 1)
V' adoro, pupille (Giulio Cesare in Egitto, Act 2)
Overture to Tamerlano: (Largo) - Allegro
Adagio - Menuet
Cor di padre (Tamerlano, Act 2)
Ombre, piante (Rodelina, Act 1)
Overture to Scipione: (Largo) - Allegro
Allegro
March (Scipione, Act 1)
Scoglio d' immota fronte (Scipione. Act 2)

Customer Reviews:

Handel Arias...Lovingly Played, Triumphantly Sung...MORE, PLEASE!.......2007-07-11

One of my favorite singers, and certainly for baroque, is Emma Kirkby. She is certainly unparalleled in this, her element.

This album, so sadly, I see, has now gone out of print. It has long been one of my favorite albums. I frequently put it on when I do not have time to listen to a complete Handel opera, but can feed my desire for his work, with these many excerpts, interspersed with instrumental selections from his operas, as well by the Baroque Consort, Roy Goodman at the helm.

Goodman seems to be a greatly underrated, unappreciated conductor...but NOT in MY book! Like so many others, he sort of "sits" just on the outside of truly popular recognition, which I do not understand.

Anyway, if you are able, get yourself a copy of this album, and thrill to some of the greatest vocalization of Handel's music you have ever heard.

Particularly, "Vedrai sa' tuo despetto", "Ah Spietato", Ombre, piante", and "Vo' far guerra"......you're gonna love this album, and be blown away with Kirkby's pyrotechnics! I bet you'll always keep it within handy reach! ~operabruin

Amazing virtuosic singing.......2002-04-01

Emma Kirkby's first album of seldom-performed Handel arias and overtures is brilliantly put together and executed. This has to be some of Handel's most difficult and virtuosic music--and Roy Goodman certainly doesn't pull any punches with tempos, particularly in the aria from "Almira," which is taken so fast that even Kirkby, with her legendary vocal agility, has to work to keep up. But she does, and it comes off wonderfully. The only other recording of this aria that I have heard is about half as fast, and even then the soprano has difficulty wheezing through it. The slower arias are performed well, but it is in the more uptempo selections (and there are plenty) that Kirkby shines brightest.

Average customer rating:

Italian Opera, not English Oratorio
a voice teacher and early music fan
A wondrous feast of Handel

Handel: Tamerlano
John Elliot Gardner / English Baroque Soloists , Nancy Argenta , Nigel Robson , Michael Chance , and Derek Lee Ragin
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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Handel: Agrippina
Handel: Radamisto
Handel - Giulio Cesare / Jacobs

ASIN: B000005E6P
Release Date: 1991-09-03

Tracks:

Ov - English Baroque Soloists/John Eliot Gardiner
Menuet - English Baroque Soloists/John Eliot Gardiner
Act I, Scene 1. Recitativo: 'Esci, Oh Signore!' - Michael Chance/Nigel Robson
Act I, Scene 1. Aria: 'Forte E Lieto A Morte Andrei' - Nigel Robson
Act I, Scene 2. Recitativo: 'Non Si Perda Di Vista Il Disperato' - Michael Chance/Derek Ragin
Act I, Scene 2. Aria: 'Vo'dar Pace A Un Alma Altiera' - Derek Ragin
Act I, Scene 3. Recitativo: 'Il Tartaro Ama Asteria' - Michael Chance
Act I, Scene 3. Aria: 'Bella Asteria, Il Tuo Cor Mi Difenda' - Michael Chance
Act I, Scene 4. Recitativo: 'Non E Piu Tempo Asteria'/Act I, Scene 5. Recitativo: 'Serve Asteria... - Nancy Argenta/Derek Ragin
Act I, Scene 5. Aria: 'Se Non Mi Vuol Amar' - Nancy Argenta
Act I, Scene 6. Recitativo: 'Non Ascolto Piu Nulla' - Nigel Robson/Michael Chance/Nancy Argenta
Act I, Scene 6. Aria: 'Ciel E Terra Armi Di Sdegno' - Nigel Robson
Act I, Scene 7. Recitativo: 'Asteria Non Parlate?' - Michael Chance/Nancy Argenta
Act I, Scene 7. Aria: 'Deh; Lasciatemi Il Nemico' - Nancy Argenta
Act I, Scene 8. Recitativo: 'Cosi La Sposa Il Tamerlano Accoglie?' - Jane Findlay/Michael Chance/Rene Schirrer
Act I, Scene 8. Aria: 'Dal Crudel Che M'ha Tradita' - Jane Findlay
Act I, Scene 9. Accompagnato: 'Chi Vide Mai Piu, Sventurato Amante?' - Michael Chance
Act I, Scene 9. Aria: 'Benche Mi Sprezzi L'idol Ch'adoro' - Michael Chance

Tracks:

Act II, Scene 1. Recitativo: 'Amico, Tengo Un Testimon Fedele...' - Derek Ragin/Michael Chance
Act II, Scene 1. Aria: 'Bella Gara, Che Faronno' - Derek Ragin
Act II, Scene 2. Recitativo: Qui L'infedel! Cogliamo' - Nancy Argenta/Michael Chance
Act II, Scene 2. Aria. 'Non E Piu Tempo' - Nancy Argenta
Act II, Scene 3. Accompagnato: 'Ah No! Dove Trascorri, Idolo Mio?' - Michael Chance
Act II, Scene 3. Aria: 'Cerco In Vano Di Placare' - Michael Chance
Act II, Scene 4/5/6. Recitativo: 'Signor, Vergine Illustre' - Rene Schirrer/Derek Ragin/Jane Findlay/Nancy Argenta
Act II, Scene 6. Aria: 'Par Che Mi Nasce In Seno Un Raggio Di Speranza' - Jane Findlay
Act II, Scene 7. Recitativo: 'Dov'e Mia Figlia, Andronico?' - Nigel Robson/Michael Chance
Act II, Scene 7. Aria: 'A Suoi Piedi Padre Esangue' - Nigel Robson
Act II, Scene 8. Recitativo: 'Se Asteria Mi Tradisce' - Michael Chance
Act II, Scene 8. Aria: 'Piu D'una Tigre Altero' - Michael Chance
Act II, Scene 9/10. Recitativo & Accompagnato: 'Al Soglio, Oh Bella!' - Derek Ragin/Nancy Argenta/Nigel Robson/Michael Chance/Jane Findlay
Act II, Scene 10. Trio: 'Ecco Il Cor, Saro Contenta'/'Voglio, Stragi, Voglio Sangue'/'Ecco Il... - Nancy Argenta/Derek Ragin/Nigel Robson
Act II, Scene 10. Recitativo: Padre Dimmi: 'Son Piu L'indegna Figlia?' - Nancy Argenta
Act II, Scene 10. Aria: 'No, Il Tuo Sdegno Mi Placo' - Nigel Robson
Act II, Scene 10. Recitativo: 'Andronico, Son Piu L'infida Amante?' - Nancy Argenta
Act II, Scene 10. Aria: 'No, Che Del Tuo Gran Cor' - Michael Chance
Act II, Scene 10. Recitativo: 'Amica, Son Quella Superba Donna?' - Nancy Argenta
Act II, Scene 10. Aria: 'No, Che Sei Tanto Costante Nella La Fede' - Jane Findlay
Act II, Scene 10. Recitativo: 'Si, Si, Son Vendicata' - Nancy Argenta
Act II, Scene 10. Aria: 'Cor Di Padre, E Cord'amante' - Nancy Argenta

Tracks:

Act III, Scene 1. Recitativo: 'Figlia, Siam Rei, Io Di Schernito Sdegno' - Nigel Robson/Nancy Argenta
Act III, Scene 1. Aria: 'Su La Sponda Del Pigro Lete' - Nigel Robson
Act III, Scene 2/3/4. Recitativo: 'Andronico, Il Mio Amore' - Derek Ragin/Michael Chance/Nancy Argenta/Nigel Robson
Act III, Scene 3/4. Aria: 'A Dispetto D'un Volto Ingrato' - Derek Ragin
Act III, Scene 5/6. Recitativo: 'L'empieta De'ministri' - Rene Schirrer/Michael Chance/Nancy Argenta
Act III, Scene 5/6. Duo: 'Vivo In Te, Mio Caro Bene!' - Nancy Argenta/Michael Chance
Act III, Scene 7. Recitativo: 'Eccoti Bajazete' - Derek Ragin/Nigel Robson/Michael Chance
Act III, Scene 8. Recitativo: 'Eccomi, Che Si Chiede?' - Nancy Argenta/Derek Ragin/Michael Chance/Nigel Robson
Act III, Scene 8. Accompagnato: 'Padre, Amante'/Arioso: 'Folle Sei'/Recitativo: 'Beva Dungue La Rea' - Nancy Argenta/Michael Chance/Nigel Robson/Derek Ragin
Act III, Scene 8. Recitativo: 'E Il Soffrirete' - Nigel Robson
Act III, Scene 8. Aria: 'Empio, Per Farti Guerra' - Nigel Robson
Act III, Scene 8. Recitativo: 'Signor, Fra Tante Cure' - Jane Findlay/Derek Ragin
Act III, Scene 9. 'Vieni, Asteria' - Rene Schirrer/Michael Chance/Derek Ragin/Nancy Argenta
Act III, Scene 10. Recitativo: 'Oh Perme Lieto'/Accompagnato: 'Fremi, Minaccia'/'Si Figlia, Io... - Nigel Robson/Derek Ragin/Nancy Argenta
Act III, Scene 10. Recitativo: 'Barbaro! Al Fin Sei Sario Ancor?' - Michael Chance/Nancy Argenta
Act III, Scene 10. Aria: 'Padre Amato, In Me Riposa' - Nancy Argenta
Scena Ultima. Recitativo: 'Io Piu Non Posso Vivere...' - Michael Chance/Derek Ragin/Jane Findlay
Scena Ultima. Duo: 'Coronata Di Giglie E Di Rose' - Michael Chance/Derek Ragin
Scena Ultima. Recitativo: 'Ora Invitta, Regina' - Derek Ragin/Jane Findlay
Scena Ultima. Chor: 'D'atra Notte Gia Mirasi A Scomo' - Jane Findlay/Michael Chance/Derek Ragin/Rene Schirrer

Customer Reviews:

Italian Opera, not English Oratorio.......2006-12-07

'Tamerlano' by George Friedric Handel is, for those of you who are musical dillitantes like me, is an opera with an Italian libretto, not an oratorio with an English text. Among other things, it means the solos and duets are more interesting and sound 'prettyier' than his English texts, but the chorus parts are far less interesting. If you are on a Handel buying binge, you simply must have this, but if you are merely fond of 'Messiah' and similar works, you will not miss this work.

a voice teacher and early music fan.......2006-03-26

George Frederic Handel-born a German, died an Englishman-,became by a curious paradox of history to be one of the greatest composers of Italian opera. Having conquered London as early as 1711, with his 'Rinaldo', he went on to delight London audiences with more of the same. In 1724 he gained complete control of their affections by his two great masterpieces : 'Guilio Cesare'and 'Tamerlano'. First performed at the Royal Academny in the Haymarket on October 31,1724, 'Tamerlano' is exceptional in the line-up of Handel's works, in that he rejects some of the conventions which were part of the Italian opera tradition. For example, the libretto is based on a well documented historical event, rather than on ancient history or mythology. The arias are of less importance than the recitatives, which blend 'secco', accompaniment and fragments of highly charged, violently expressed arioso. This technique is very well illustrated in the long monologuew where Bajazet dies in an almost demented outburst of curses and lamentations. Though the violence of Handel's discourse occasionally interrupts the flow of this perfectly balanced and refined music, there always comes a moment when melody claims its due. And this is really the clearest sign of Handel's genius: the ability to blend dramatic intensity with the pleasure of a voice raising itself above the artifices of the theatre.
Very briefly here is the story: Tamerlano (Derek Ragin-countertenor), Emperor of the Tartares, has defeated and taken prisoner the Turkish Sultan 'Bajazet' (Nigel Robson-tenor). Although Tamerlano is betrothed to Irene, Princess of Trabizond (Jane Findlay-soprano),he falls in love with Asteria (Nancy Argenta-soprano),Bajazet's daughter, who loves and is loved by Andronicus (Michael Chance-countertenor),a Greek general and ally of Bajazet. Tamerlano tells Andronicus that he must marry Irene so that he can have Asteria. Finally, after many,many, many twists and turns, Andronicus tells Tamerlano that he loves Asteria and will not marry Irene. Meanwhile, Asteria attempts to poison Tamerlano, but is discovered by Irene, who stops her because she really loves Tamerlano. Tamerlano condemns Asteria,and Bajazet fearing for her life, commits suicide. This "offing" of Bajazet serves to placate and calm Tamerlano, and he forgives Andronicus and Asteria and gives them permission to marry each other. Of course, he is very grateful to Irene for saving his life, so he will marry her after all, and alls well that ends well, except for Bajazet!
All you lovers of the countertenor voice, track down this recording for it has 2 of the BEST countertenor voices you will ever hear anywhere. Chance was early in his career (1985) when this recording was made,and he sings this role with the expertise of a seasoned performer, and all with that uniquely 'golden' voice. Derek Ragin is a good contrast to Chance, because he sings with more vibrato and more ornamentation in his role. The other singers are equally accomplished; I especially liked Nigel Robson's performance as Bajazet; it was powerfully and skillfilly done!!This story has been done many times throughout the centuries; most recently by Fabio Biondi producing 'Bajazet' with another excellent countertenor playing the role of Bajazet:David Daniels. This opera Tamerlano is an incredible listening experience!!!!!

A wondrous feast of Handel.......2004-08-04

This live recording from the late 1980s is one of the most atmospheric of Handel recordings, and probably one of the best that John Eliot Gardiner has made thus far.

Handel's Tamerlano, one of the triumvirate of outstanding operas from the mid 1720s (alongside Giulio Cesare and Rodelinda), has been recorded three times since the late 70s, but this is probably the best. Malgoire's recording made a hash of the libretto and had an order that made little sense as to the performance Handel would have recognised. There are problems with the more recent recording of Trevor Pinnock for the same reasons and, although Gardiner's is not the definitive recording either, it comfortably out-does its rivals.

The main plus point here is some wonderful singing from Derek Lee Ragin (Tamerlano) and Michael Chance (Andronico) in the two alto castrato roles. For Handel buffs, this cd set sees only the second recording, so far as I know, of the only duet Handel wrote for castrato 'Coronata di giglie e di rose'. Their wonderful interplay and ornamentation is spectacular.

Nancy Argenta as Asteria comfortably outsings her rivals on disc, as does Jane Findlay as Irene. Where the recording is inferior to its rivals is in the choice of Nigel Robson as Bajazet. Whilst he is stylish, musical and convincing as the Turkish emperor, nevertheless the singing lacks depth of emotion and conviction. Thomas Randle for Pinnock is more convincing here, though he has been accused of 'barking' his way through the role.

All of that said, if you want a first introduction to Handel opera, don't let the price or length of the opera put you off. Any serious Handelian will want this in their collection. Highly recommended. This item is still available in Europe.

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