George Frideric Handel: Esther

Track Listings
Disc: 1

1. Overture Andante - Larghetito - Allegro

2. Recitative Habdonah/Haman: " 'Tis greater far to spare"

3. Aria Haman: " Pluck root and branch from out the land"

4. Recitative Persian Officer: "Our souls with ardour glow"

5. Chorus: "Shall we the God of Israel fear?"

6. Recitative First Israelite: " Now persecution shall lay by her iron rod"

7. Aria: " Tune your harps to cheerfull strains"

8. Chorus: " Shall we of servitude complain"

9. Aria Israelite Woman: " Praise the Lord with cheerful noise"

10. Recitative Israelite Woman: " 0 God, who from the suckling's mouth"

See all 20 tracks on this disc
Disc: 2

1. Recitative Esther/Mordecai: " Why sits that sorrow on thy brow?"

2. Aria Mordecai: " Dread not, righteous Queen, the danger"

3. Recitative Esther: "I go before the King to stand"

4. Aria Esther: " Tears assist me, pity moving"

5. Chorus: " Save us, O Lord"

6. Recitative Ahasuerus/Esther: "Who dares intrude into our presence"

7. Duet Esther/Ahasuerus: " Who calls my parting soul from death?"

8. Aria Ahasuerus: "0 beauteous Queen, unclose those eyes!"

9. Recitative Esther: " If I find favour in thy sight"

10. Aria Ahasuerus: " How can I stay when love invites?"

See all 20 tracks on this disc

Editorial Reviews
Classical Music (CANADA)
"... Esther...is pure enchantment... The choral singing has an exceptional gtandure, and the instrumental playing a shimmering beauty".

Album Description
Handel's oratorios vary greatly in their presentation. In many ways, Esther is a rarity;it is by far the most intimate, not surprisingly as it was composed for the Duke of Chandos. The Duke's Palladian palace near the village ofEdgware had not been completed in time for the first performance so this may have taken place (as did Acis and Galatea) in the intimate surroundings of a small church, St Lawrence, Whitchurch.

We decided, therefore, that we should attempt to convey that intimacy of performance on disc; so we performed in the round with microphones in the middle, the orchestra in front of me, the choir behind and the soloists alongside. The result is everything that chamber music should be where players and singers can enjoy every aspect of Handel's masterpiece.

"The 'sound' of Esther, superbly communicated in the recorded performance here, is pure enchantment... The choral singing has an exceptional grandure, and the instrumental playing a shimmering beauty. Among the soloists, none of whom is less than accomplished, Nancy Argenta and Michael Chance dominate... Both singers affirm a new golden age of Handel interpretation".

Tracks:

Overture Andante - Larghetito - Allegro
Recitative Habdonah/Haman: " 'Tis greater far to spare"
Aria Haman: " Pluck root and branch from out the land"
Recitative Persian Officer: "Our souls with ardour glow"
Chorus: "Shall we the God of Israel fear?"
Recitative First Israelite: " Now persecution shall lay by her iron rod"
Aria: " Tune your harps to cheerfull strains"
Chorus: " Shall we of servitude complain"
Aria Israelite Woman: " Praise the Lord with cheerful noise"
Recitative Israelite Woman: " 0 God, who from the suckling's mouth"
Aria Second Israelite: " Sing songs of praise, bow down the knee"
Chorus: " Shall we of servitude complain"
Recitative Priest of the Israelites: " How have our sins provoked the Lord!"
Chorus: "Ye sons of Israel mourn"
Aria Priest ofc The Israelites: "0 Jordan, Jordan, sacred tide"
Chorus: "Ye sons of Israel mourn"
Andante
Allegro
Adagio
Allegro

Tracks:

Recitative Esther/Mordecai: " Why sits that sorrow on thy brow?"
Aria Mordecai: " Dread not, righteous Queen, the danger"
Recitative Esther: "I go before the King to stand"
Aria Esther: " Tears assist me, pity moving"
Chorus: " Save us, O Lord"
Recitative Ahasuerus/Esther: "Who dares intrude into our presence"
Duet Esther/Ahasuerus: " Who calls my parting soul from death?"
Aria Ahasuerus: "0 beauteous Queen, unclose those eyes!"
Recitative Esther: " If I find favour in thy sight"
Aria Ahasuerus: " How can I stay when love invites?"
Recitative Third Israelite/Fourth Israelite: " With inward joy his visage glows"
Chorus: " Virtue, truth and innocence"
Arioso Priest of the Israelites: " Jehovah, Crown'd with glory bright"
Chorus: " He comes, he comes to end our woes"
Recitative Ahasuerus/Esther: " Now, a Queen, thy suit declare"
Arioso Haman: " Turn not, a Queen, thy face away"
Aria Esther: " Flatt' ring tongue, no more I hear thee!"
Recitative Ahasuerus: "Guards, seize the traitor, bear him hence!"
Aria Haman: " How art thou fall'n from thy height!"
Chorus: "The Lord Our enemy has slain"

Album Description

Handel's oratorios vary greatly in their presentation. In many ways, Esther is a rarity;it is by far the most intimate, not surprisingly as it was composed for the Duke of Chandos. The Duke's Palladian palace near the village ofEdgware had not been completed in time for the first performance so this may have taken place (as did Acis and Galatea) in the intimate surroundings of a small church, St Lawrence, Whitchurch.

Customer Reviews:

THE SHAPE OF THINGS TO COME.......2007-01-26

Esther is the first of Handel's oratorios by a good many years, written when he was 33 and enjoying the patronage of the Duke of Chandos. When he later became his own impresario and was running into trouble as a composer and producer of Italian operas he turned to oratorio as a strategic alternative, but at this early date his concern was to deliver staged entertainments for the Duke, and Esther, contemporary with the work that later gained the title Acis and Galatea, seems to have been just an unusually serious specimen of its type.

As often with Handel, there is no fully official version of the score, and this particular score may not even be fully complete from any point of view. The libretto seems to have been the work of someone in the frivolously named association of big literary figures called the Scriblerus Club, perhaps Dr John Arbuthnot, dedicatee of Pope's great poetic Epistle, but Pope himself may have had a hand in it too. As we have it here, the work breaks into two very asymmetrical parts. Scenes 1 and 2 start with a recitative lasting only seconds from Habdonah followed by a longer one in which Haman announces his onslaught on the Israelites, and from there on feature only anonymous participants. Esther herself and the other named characters make their appearance first in scene 4, but the change of tone occurs in scene 3. At this point the music gains gravity first in the chorus Ye sons of Israel with its extraordinary modulations and then in the striking aria O Jordan, Jordan. I myself feel that this weightier tone is maintained to the end, whether or not the writer of the liner note is correct in saying that the long final chorus with solos is out of proportion to its context.

Throughout - in the first part as well as in scenes 3-6 - the instrumental writing is vivid and varied, with an extraordinary pizzicato accompaniment to Tune your harps and then an even more extraordinary obbligato from the harp itself at Praise the Lord. The harpist is no less than Jan Walters, but sometime I would like to see the score and check out what seem some odd rhythmic interactions here between her and the soloist Nancy Argenta. There are no fewer than ten vocal soloists in a work lasting a little over an hour and a quarter, and a very distinguished bunch they are. I was particularly pleased to find Michael Chance in the countertenor role of the Priest of the Israelites as I admire the strength of his tone, but there is no real weakness among them, unless Lynda Russell as Esther has a couple of very slightly awkward high notes in Flatt'ring tongue, which must be a little nerve-wracking to sing as she has to find her note for herself unaccompanied at the start and later at the reprise. You will see some big names among the instrumentalists too, with Crispian Steele-Perkins on the trumpet making a predictably fine contribution towards the end, and of course with Jan Walters in that marvellous harp part early on. The chorus gets some wonderful work to do, and rises to it fully. I really am unable to worry about the proportionateness of the final chorus when I hear that incomparable Handelian build of tone, sung by 18 singers and sounding as if there were 100.

There is a good liner note by Graydon Beeks Jr, not perhaps the last word in lucidity (neither is the plot of the libretto come to that) but worth re-reading. Harry Christophers himself contributes a short foreword largely concerned with the recording process and highlighting the contributions of Mark Brown and Mike Hatch, his long-time technical collaborators. I was interested to see also the name of Geoff Miles in a role described as `editor'. What responsibilities this involved is not stated and perhaps I ought to know without being told, but I know the work of Geoff Miles as recording engineer from elsewhere and it gave me confidence just to see that he is involved in the proceedings, and the technical work is predictably excellent.

My collection of Handel oratorios is now almost complete, and what a wonderful musical experience they are. Each is unique in its own way, but Esther is unique in some very special ways, and I suggest that you do not wait until you are my age to get to know it.

a voice teacher and early music fan.......2006-04-04

Handel began composing the oratorio 'Esther' in 1718. There is some confusion as to who actually worte the libretto for it, but the story follows very closely the biblical story of Esther in the Book of Esther in the old testament. The story tells of a plot of Haman, the Agagite (Michael George-bass) jealous and powerful vizier of King Xerses (Ahasuerus-Tom Randle-tenor) of Persia(485-464), to destroy in a single day all the Jews living in the Roman Empire. He is moved to this out of hatred for the Jewish servant Mordecai (Mark Padmore-tenor),who for religious motives refuses to render him homage. The day of the proposed massacre is determined by lot. Meanwhile, Esther,niece and adopted daughter of Mordecai, is chosen Queen by King Xerses. She averts the pogrom planned against her people and has the royal decree of extermination reversed against Haman and the enemies of the Jews. Mordecai replaces Haman, and together with Esther, works for the welfare of their people. As you can see this makes for an interesting Oratorio, which it truly is!
This is a "small" contribution compared to many of Handel's other works. However, it is not "small" in a musical sense. There is much creativity on the part of Handel as to orchestral scoring; he exploits his small orchestra and chorus in surprising ways, introducing new vocal and instrumental colours throughout the score, adding and subtracting instruments and voices in many and varied ways. This is a listening surprise as it moves along. And what a great performance on the part of the Christophers as well as some outstanding vocal soloists. Mark Padmore's (Mordecai) aria "Tune Your Harps to Cheerful Strains" was superb as was the Duet between Lynda Russell (Esther) and Tom Randle (Ahasuerus).But the aria that really drew me into the entire drama was sung by Michael Chance (Priest) "O Jordan, Jordan, sacred Tide." It was perfection itself!!!!The Chorus was extremely good and dictionally perfect. It is a great listening experience.

James Bowman ~ Handel English Arias / The King's Consort · King

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a voice teacher and early music fan
a must for Handel devotees

James Bowman ~ Handel English Arias / The King's Consort · King
George Frideric Handel , Robert King , The King's Consort , James Bowman , and Susan Gritton
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Scandinavian Languages | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

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ASIN: B000002ZW7
Release Date: 1995-10-17

Tracks:

The Choice Of Hercules: Yet Can I Hear That Dulcet Lay
Esther: How Can I Stay, When Love Invites
Saul: O Fairest Of Ten Thousand Fair
Belshazzar: Great God! Who, Yet But Darkly Known
Theodora: The Raptur'd Soul
Judas Maccabaeus: Father Of Heav'n
Overture To Ester: Andante, Larghetto, Allegro
Saul: O Lord, Whose Mercies Numberless
Solomon: What Though I Trace Each Herb
Belshazzar: Martial Symphony And Destructive War
Solomon: Welcome As tThe Dawn Of Day
Theodora: Kind Heaven, If Virtue Be Thy Care
Solomon: Almighty Pow'r
Haman and Mordecai: Tune Your Harps

Customer Reviews:

a voice teacher and early music fan.......2007-02-04

Of George Frederick Handel(1685-1759) of England, born Georg Friedrich Handel of Germany, an English critic wrote, "He did bestride our musical world like a Colossus." The English passion for the oratorio is largely due to Handel, who was forced to find a new style of music with which to rekindle the interest of the public. For twenty years he had been presenting operas in London, but the last seasons had been increasingly unsuccessful as audiences took against attending staged works in Italian. The prior success of 'Esther' had launched 'oratorio' in London, and set Handel on a compositional path which was to prove his principal sphere of work for the rest of his life.
Handel's oratorios, more dramatic than any previously written, were like operas,save that they were given without scenery and costumes. Moreover, the variety of moods, the quality of the melodies and the composer's unique use of the colours of the orchestra makes the whole work marvellously attractive.
This disc contains an excellent variety of tunes from the various oratorios. Most are vocal in nature, but there are 2 that are strictly instrumental: Overture to 'Esther' in 3 movements and 'Martial Symphony and Destructive Was' from 'Solomon'. I particularly enjoyed the 2 duets with Susan Gritton (soprano) and James Bowman (countertenor): 'O fairest of 10,000 Fair' from 'Saul' and 'Welcome as the dawn of day' from 'Solomon'.
James Bowman does his usual correct interpretation of all the selections. His diction is not always clear due to his somewhat 'loud' and 'muffled' tone quality. BUT having said this, I must say that he is considered by most to be one of the great singers from the UK. I just simply prefer a more refined and clear 'delivery' such as Michael Chance renders. But we all have our own preferences and that's good for the world of music appreciation. Susan Gritton's voice is clear and her diction is excellent; and Robert King with the King's Consort give their usual fine accompaniment.
Just aside for those of you who enjoy the oratorio; there are 4 excellent 'live' performances on CD from the Maulbronn Monastery conducted by Jurgen Budday with superb singing, both soloistically and chorally. They are recorded by K&K Verlagsanstalt and are available on amazon.com

a must for Handel devotees.......2000-01-13

This CD contains some of the most beautiful music from Handel's oratorios and is performed here with style, warmth, brilliance, and authenticity. The sound quality of this recording is very warm and bright (good combination)!

Tracks:

Erbarme dich - Bach
'Handel English Arias': Almighty Power - Handel
'Complete Odes And Welcome Songs' Volume 8: Britain, Thou Now Art Great - Purcell
'Handel English Arias': Yet Can I Hear That Dulcet Lay - Handel
'Awake Sweet Love': Anon - Come Tread The Paths - James Bowman
'Handel Italian Duets': Crudeltontananza - Handel
'Countertenor Duets And Solos By Purcell And Blow': O Solitude, My Sweet Choice - Purcell
'Bach Cantatas For Solo Alto': Stirb in mir - Bach
'Handel Deborah': Impious Mortal - Handel
'Purcell Complete Odes And Welcome Songs' Volume 1: By Beauteous Softness Mixed - Purcell
'Schutz Christmas Story And Gabrieli Christmas Motets': O Magnum Mysterium - Gabrieli
'Handel English Arias': Tune Your Harps - Handel
'Awake Sweet Love': Since First I Saw Your Face - James Bowman
'Handel English Arias': Welcome As The Dawn Of Day - Handel
'Mr. Henry Purcell's Most Admirable Composures': An Evening Hymn - Purcell
'Handel The Occasional Oratorio': Thou Shalt Bring Them In - Handel
'Couperin Trois Lecons de Tenebres': Jerusalem, convertere - Couperin
'Handel Heroic Arias': Or la tromba - Handel
'Purcell Complete Secular Solo Songs' Volume 1: On The Brow Of Richmnd Hill - Purcell
'Handel Music For Ceremonial Occasions': Handell - Eternal Source Of Light - James Bowman
'Purcell Complete Anthems And Services' Volume 2: Vouchsafe, O Lord, To Keep Us This Day - Purcell

Customer Reviews:

James Bowman forever.......2000-06-29

An article title about James Bowman said "A singer in high places" - and it's so true.

James Bowman is a great singer, and one of my favourite performers. One can listen to his CDs over and over again, without tiring.

He feels at home in both English songs and other languages. This CD is a "summary" of some other collection CDs of him.

Tracks:

Ov: Andante/Larghetto/Allegro - Orch Of The Sixteen/Harry Christophers
Scene 1. Recitative: 'Tis Greater Far To Spare' - Simon Berridge/Michael George
Scene 1. Aria: 'Pluck Root And Branch From Out The Land' - Michael George
Scene 1. Recitative: 'Our Souls With Ardour Glow' - Matthew Vine
Scene 1. Chor: 'Shall We The God Of Israel Fear?' - The Sixteen/Harry Christophers
Scene 2. Recitative: 'Now Persecution Shall Lay By Her Iron Rod' - Mark Padmore
Scene 2. Aria: 'Tune Your Harps To Cheerful Strains' - Mark Padmore
Scene 2. Chor: 'Shall We Of Servitude Complain' - The Sixteen/Harry Christophers
Scene 2. Aria: 'Praise The Lord With Cheerful Noise' - Nancy Argenta
Scene 2. Recitative: 'O God, Who From The Suckling's Mouth' - Nancy Argenta
Scene 2. Aria: 'Sing Songs Of Praise, Bow Down The Knee' - Thomas Randle
Scene 2. Chor: 'Shall We Of Servitude Complain' - The Sixteen/Harry Christophers
Scene 3. Recitative: 'How Have Our Sins Provoked The Lord!' - Michael Chance
Scene 3. Chor: 'Ye Sons Of Israel Mourn' - The Sixteen/Harry Christophers
Scene 3. Aria: 'O Jordan, Jordan, Sacred Tide' - Michael Chance
Scene 3. Chor: 'Ye Sons Of Israel Mourn' - The Sixteen/Harry Christophers
Scene 3. Ob Son in g (HWV 404): Andante - Anthony Robson
Scene 3. Ob Son in g (HWV 404): Allegro - Anthony Robson
Scene 3. Ob Son in g (HWV 404): Adagio - Anthony Robson
Scene 3. Ob Son in g (HWV 404): Allegro - Anthony Robson

Tracks:

Scene 4. Reitative: 'Why Sits That Sorrow On Thy Brow?' - Lynda Russell/Mark Padmore
Scene 4. Aria: 'Dread Not, Righteous Queen, The Danger' - Mark Padmore
Scene 4. Recitative: 'I Go Before The King To Stand' - Lynda Russell
Scene 4. Aria: 'Tears Assist Me, Pity Moving' - Lynda Russell
Scene 4. Chor: 'Save Us, O Lord' - The Sixteen/Harry Christophers
Scene 5. Recitative: 'Who Dares Intrude Into Our Presence' - Thomas Randle/Lynda Russell
Scene 5. Duet: 'Who Calls My Parting Soul From Death?' - Lynda Russell/Thomas Randle
Scene 5. Aria: 'O Beauteous Queen, Unclose Those Eyes!' - Thomas Randle
Scene 5. Recitative: 'If I Find Favour In Thy Sight' - Lynda Russell
Scene 5. Aria: 'How Can I Stay When Love Invites?' - Thomas Randle
Scene 5. Recitative: 'With Inward Joy His Visage Glows' - Simon Berridge/Matthew Vine
Scene 5. Chor: 'Virtue, Truth And Innocence' - The Sixteen/Harry Christophers
Scene 5. Arioso: 'Jehovah, Crown'd With Glory Bright' - Michael Chance
Scene 5. Chor: 'He Comes, He Comes To End Our Woes' - The Sixteen/Harry Christophers
Scene 6. Recitative: 'Now, O Queen, Thy Suit Declare' - Thomas Randle/Lynda Russell
Scene 6. Arioso: 'Turn Not, O Queen, Thy Face Away' - Michael George
Scene 6. Aria: 'Flatt'ring Tongue, No More I Hear Thee!' - Lynda Russell
Scene 6. Recitative: 'Guards, Seize The Traitor, Bear Him Hence!' - Thomas Randle
Scene 6. Aria: 'How Art Thou Fall'n From Thy Height!' - Michael George
Scene 6. Chor: 'The Lord Our Enemy Has Slain' - The Sixteen/Harry Christophers

Amazon.com

Among Handel's rarely performed but worthy and wonderful oratorios is Esther, often dismissed for its problematic libretto and its substantial borrowings from other works. Forget all of that and just listen to this thoroughly engaging and tuneful work that features some of Handel's finest arias and most sublime choruses. Harry Christophers and his performers keep the energy high while the sound team provides uncommon immediacy and presence. --David Vernier

Customer Reviews:

Beautifully done.......2000-05-04

Esther, Handel's first oratorio, is often dismissed as an experimental work not worthy of serious attention. This wonderful recording, however, demonstrates that the work, even in its earliest surviving score, has considerable merit. The work is based on the well-known biblical legend of Esther, the wife of Persian King Ahasuerus, who dares to disobey Persian law (which prohibited anyone from appearing before the king unsummoned) in order to make a plea on behalf of her exiled people. Because listeners were supposed to be familiar with the legend, the oratorio is not concerned with the logical sequence of events. Many details of the plot are missing and the main characters (Esther and Ahasuerus) don't even enter until scenes four and five respectively. Yet, despite its structural problems, Esther is quite compelling musically. It contains beautiful examples of choral writing (the plaintive chorus Ye sons of Israel mourn is especially striking). It contains powerful dramatic confrontations between Esther and Ahasuerus on the one hand, and Esther and Haman, on the other, with a lyrical Esther-Ahasuerus duet tucked in between. It contains cheerful arias of rejoicing (just wait till you hear Tune your harps!) and pensive arias of worship or entreaty. The instrumental score is unusually rich too, containing such beautiful details as obbligato harp, pizzicato strings and Water Music-like parts for horns. The singing is of a very high order, as one would expect from Christophers and the Sixteen. I don't know whether this recording definitely surpasses its predecessor - a 1984 recording of Esther by Christopher Hogwood, but it is definitely a strong rival. The cast is very strong on both recordings (Hogwood had Rolfe-Johnson, Kwella, Kirkby, Minter, Thomas, Elliott and Patridge). My personal picks from these two recordings are as follows: Patrizia Kwella as Esther (Hogwood), Thomas Randle as Ahasuerus (Christophers), David Thomas as Haman (Hogwood), Michael Chance as the Priest (Christophers), Mark Padmore as 1st Israelite/Mordecai (Christophers), and Nancy Argenta as Israelite Woman (Christophers).

A real find!.......1999-02-18

I really enjoyed this recording. In my opinion, Esther rises to the level of the best Handel's operas. Although written to a strange libretto, which is so abbreviated that the plot is entirely incomprehensible, this oratorio is nevertheless quite dramatic, thanks to the wonderfully expressive music, excellently presented here in an authentic style. The soloists are well matched. I'm not a fan of Thomas Randle but even he exceeded my expectations. Nevertheless, I still think he isn't high enough for the part of Ahasuerus, which is especially evident in the duet "Who calls my parting soul..." I was a little disappointed, because this duet is definitely one of the summits of the oratorio. Luckily, that is the only relative downside of the recording. The real highlights of Esther are two arias (which happen to almost follow each other): "Tune your harps" and "Praise the Lord with cheerful noise." The music accompanying these arias is absolutely stunning, particularly the pizzicato strings in "Tune your harps." The "mouldering" effect, provided by the pizzicato strings, is reinforced in that aria by several unexpected downward turns in the melody giving an almost spatial expression to the words "Moulder idols into dust." Mark Padmore's singing in that aria cannot be bettered. He sings it in his best high tenor voice, which is taut, vibrato-less and never faltering even on the longest extensions. The total effect from "Tune your harps" is totally shocking, my finger never left the repeat button. My third favorite part of Esther is Haman's arioso "Turn not, o Queen, thy face away," gloriously sung by Michael George. This piece also comes with gorgeous orchestral accompaniment, which is somewhat reminiscent of Ottone's despairing aria in Agrippina right after he gets accused of treason. The sound of The Sixteen is at times a little scattered, but that is probably the fault of recording engineers (some singers may have been standing closer to the microphones than the others). Overall, however, this recording cannot seriously disappoint anyone.

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Getting Excited About Baroque Opera

Handel: Arias for Montagnana
George Frideric Handel , Nicholas McGegan , David Thomas , and Philharmonia Baroque Orchestra
Manufacturer: Harmonia Mundi
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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B0000007CG
Release Date: 1995-12-15

Tracks:

Arias for Montagnana: Se un bell'ardire
Arias for Montagnana: Nasce al bosco
Arias for Montagnana: Giisonar
Arias for Montagnana: Fra l'ombre e gli orrori
Arias for Montagnana: Sento il cor
Arias for Montagnana: Tiene Giove
Arias for Montagnana: Pluck root and branch
Arias for Montagnana: Turn not, O Queen
Arias for Montagnana: How art thou fall'n
Arias for Montagnana: Ferito son d'Amore
Arias for Montagnana: Piangi pur
Arias for Montagnana: Lascia Amor
Arias for Montagnana: Sorge infausta una procella
Arias for Montagnana: Awake the ardour
Arias for Montagnana: Swift inundation
Arias for Montagnana: Tears, such as tender fathers shed
Arias for Montagnana: Ah, canst thou but prove me!

Customer Reviews:

Getting Excited About Baroque Opera.......2006-06-17

George Frideric Handel (1685 – 1759), Arias for Montagnana. Performed by David Thomas, bass, and the Philharmonia Baroque Orchestra, San Francisco, conducted by Nicholas McGegan. Recorded in September, 1989, at Lucas Studios, San Rafael, California.
Harmonia Mundi USA HMU 907015 (and also available on HMX 2907171.74). Total time: 67’40”.

The story of Handel’s opera business in Georgian London is one of jealousy, intrigue, rivalry, factions and, occasionally, of singers coming to blows. No wonder, then, that the composer had, over the years, to replace singers who had left his troupe, often enough to join rival organizations. Italian bass Montagnana was with Handel from 1731 to 1733 and again, briefly, in 1737 – 1738. As with his other “stars”, Handel composed music specially for him, giving him roles which would best show off his abilities. These appear to have been considerable, with Handel not only writing new music but reviving arias from his Italian days with their incredible leaps and amazingly deep notes: “Fra l’ombre e gli orrori”, although here sung in the Montagnana version from the opera “Sosarme”, is better known as an aria of Polifemo from the cantata “Aci, Galatea e Polifemo” (1707). This is not the only instance of self-borrowing on this disc. The Italian version of “O ruddier than the cherry” from “Acis and Galatea” (1732 version) – presumably recomposed to avoid Montagnana having to sing in English with his heavy Italian accent – is, in fact, based on music by Keiser, as Andrew Porter is at pains to point out.

Opinions differ as to whether David Thomas is an ideal modern interpreter for these Da capo arias. Whereas Harmonia Mundi quote the late and highly respected Stanley Sadie of “Gramophone” magazine with high praise (“Thomas has a formidable range, a dazzling technique […] and a tone that is full and resonant yet always clearly defined”), others have been inclined to see Thomas’s timbre as problematical and to pour their praise instead (and with every justification) on the tremendous sound and playing of the Philharmonia Baroque Orchestra. I suppose this is, like so much in music, a matter of taste – personally, I find David Thomas’s voice a little too throaty, in places almost sounding as though he could do with a throat lozenge and a week off work!

Having said that, however, this is still a highly entertaining disc. Thomas had recorded some of the arias here a few years earlier (with the Academy of Ancient Music, conducted by Christopher Hogwood, in “Esther” and “Orlando”). Others are new, and, as in the case of the excerpts from “Ezio”, “Tolomeo” and “Deborah”, rarely heard today. With the exception of a little obtrusive “pre-echoing” at one or two points, the recorded sound is magnificent (compliments to engineer Peter McGrath), enabling one to hear perfectly every modulation of Thomas’s voice, but also those glorious strings, trumpets and other period instruments played so beautifully by the Philharmonia Baroque. This is truly music that can get me excited about baroque opera!

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The Greatest Song Ever Written, Vol.1

Manufacturer: Song Lion Productions
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

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Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music
ASIN: B000009LMP
Release Date: 1997-04-15

Handel Arias for Cuzzoni, Durastanti, Senesino & Montagnana / Saffer · Hunt-Lieberson · Minter · Thomas · PBO · McGegan

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Do not miss it!
A must-have for Handelians

Handel Arias for Cuzzoni, Durastanti, Senesino & Montagnana / Saffer · Hunt-Lieberson · Minter · Thomas · PBO · McGegan
George Frideric Handel , Nicolas McGegan , Philharmonia Baroque Orchestra , Lisa Saffer , Lorraine Hunt , Drew Minter , and David Thomas
Manufacturer: Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

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Tracks:

Arias For Cuzzoni: Spietati, io vi giurai (Rodelinda II, 3)
Arias For Cuzzoni: Ombre, piante, urne funeste! (Rodelinda I, 7)
Arias For Cuzzoni: Il volo cosi fido (Riccardo Primo III, 8)
Arias For Cuzzoni: Accomp.: Che sento? - Aria: Se pieta (Guilio Cesare II, 8)
Arias For Cuzzoni: Recit.: E pur cosi - Aria: Piangero (Guilio Cesare III, 3)
Arias For Cuzzoni: Da tempeste il legno infranto (Guilio Cesare III, 6)
Arias For Cuzzoni: Scoglio d'immota fronte (Scipione II, 8)
Arias For Cuzzoni: Recit.: E tale Otton? - Aria: Falsa immagine (Ottone I, 3)
Arias For Cuzzoni: Recit.: Guinge Otton? - Aria: Affanni del pensier (Ottone I, 10)
Arias For Cuzzoni: Recit.: Serve Asteria - Aria: Se non mi vuol amar (Tamerlano I, 5)
Arias For Cuzzoni: L'Amor che per te sento (Alessandro III, 4)
Arias For Cuzzoni: Recit.: Chi mai l'intende - Aria: Amante stravagante (Flavio I, 13)

Tracks:

Arias For Durastanti: Recit.: Favorevol la sorte - Aria: Ogni vento (Agrippina II, 20)
Arias For Durastanti: Pensieri, voi mi tomentate (Agrippina II, 13)
Arias For Durastanti: Ombra cara di mia sposa (Radamisto II, 2)
Arias For Durastanti: Recit.: Oh Dio! parte Zenobia - Aria: Qual nave (Radamisto III, 1)
Arias For Durastanti: Accopm.: Io d'altro regno - Aria: Dimmi, crudele Amore (Muzio Scevola III, 3)
Arias For Durastanti: Recit.: Ben a raggion - Aria: Vieni, o figlio (Ottone II, 4)
Arias For Durastanti: Recit.: Vani sono i lamenti - Aria: Svegliatevi nel core (Guilio Cesare I, 4))
Arias For Durastanti: Cara speme (Guilio Cesare I, 8)
Arias For Durastanti: Recit.: Figlio non e - Aria: L'angue offenso mai riposa (Guilio Cesare II, 6)
Arias For Durastanti: L'aure che spira (Guilio Cesare II, 11)
Arias For Durastanti: La giustizia (Guilio Cesare III, 5)
Arias For Durastanti: Mirami altero in volto (Arianna I, 2)
Arias For Durastanti: Qual leon (Arianna II, 6)

Tracks:

Arias For Senesino: Va tacito (Guilio Cesare I, 9)
Arias For Senesino: Non e si vago e bello (Guilio Cesare I, 7)
Arias For Senesino: Vivi, tiranno (Rodelinda III, 4)
Arias For Senesino: Recit.: Che piu si tarda omai - Accomp.: Inumano fratel - Aria: Stille amare (Tolomeo III, 6)
Arias For Senesino: Recit.: Nube, che il Sole - Aria: Si fugge il duol (Riccardo Primo II, 7)
Arias For Senesino: Agitato da fiere tempeste (Riccardo Primo I, 6)
Arias For Senesino: Accomp.: Ah! stigie larve - Arioso: Gia latra Cerbero - Accomp.: Ma la furia - Aria: Vaghe pupille (Orlando II, 11)
Arias For Senesino: Accomp.: Gia per la man - Arioso: Gia l'ebro mio ciglio (Orlando III, 8)
Arias For Senesino: Recit.: T'ubbidiro, crudele - Aria: Fammi combattere (Orlando I, 9)
Arias For Senesino: Recit.: E questa la Mercede - Aria: Cielo! (Orlando II, 3)
Arias For Senesino: Amor, nel mio penar (Flavio III, 4)

Tracks:

Arias For Montagnana: Recit.: Perche tanto tormento? - Aria: Se un bell'ardire (Ezio I, 6)
Arias For Montagnana: Accomp.: Folle e colui - Aria: Nasce al bosco Ezio II, 8)
Arias For Montagnana: Recit.: Che indegno! - Aria: Giisonar (Ezio III, 13)
Arias For Montagnana: Recit.: Addio, principe scrupoloso - Aria: Fra l'ombre e gli orrori (Sosarme I, 5)
Arias For Montagnana: Recit.: Quanto piu Melo - Aria: Sento il cor (Sosarme II, 7)
Arias For Montagnana: Recit.: Tanto s'eseguira - Aria: Tiene Giove (Sosarme II, 9)
Arias For Montagnana: Recit.: I'll Hear No More - Aria: Pluck Root And Branch (Esther I, 3)
Arias For Montagnana: Turn Not, O Queen (Esther II, 6)
Arias For Montagnana: How Art Thou Fall'n (Esther III, 6)
Arias For Montagnana: Recit.: Avampo - Aria: Ferito son d'Amore (Acis & Galatea Second Part)
Arias For Montagnana: Piangi pur (Tolomeo II, 7)
Arias For Montagnana: Recit.: Mira, e prendi l'esempio - Aria: Lascia Amor (Orlando I, 2)
Arias For Montagnana: Recit.: Impari ognun da Orlando - Accomp.: Accomp.: O voi del mio poter - Aria: Sorge infausta una procella (Orlando III, 6)
Arias For Montagnana: Recit.: Barak, My Son - Aria: Awake The Ardour (Deborah I, 3)
Arias For Montagnana: Recit.: Thy Ardours Warm - Aria: Swift Inundation (Deborah II, 2)
Arias For Montagnana: Tears, Such As Tender Fathers Shed (Deborah III, 2)
Arias For Montagnana: Ah, Canst Thou But Prove Me! (Athalia II, 1)

Customer Reviews:

Do not miss it!.......2004-12-20

As some really interesting McGegan recordings silently disappear, buy it NOW, without hesitation.

The concept is lavish. We see how Handel's pen was controlled by the artists' personality. David Thomas, e.g., flies down to the abyss opened by Handel's music to the possibly plutonian Montagnana -nobody, never could sing it better, "fly deeper". The ladies are lecherously "aviatic" to the opposite direction. Those who miss it miss a universe.

A must-have for Handelians.......2004-08-04

This bargain-priced box set is a must-have for anyone who loves Handel's operas. Whilst Nicholas McGegan has had his critics over some of his Goettingen recordings, it cannot be denied that he has rescued some of Handel's finest arias and operas from the dustbin of History. And here (87 arias later), he has a fine cast of singers all re-living the repertoire of some of the best singers of the 18th century - Lisa Saffer sings arias by Cuzzoni, Drew Minter arias by Senesino, David Thomas arias for Montagnana, and Lorraine Hunt Lieberson arias by Durastanti.

The excellent Philharmonia Baroque Orchestra provide superb accompaniment for each singer, and the sound quality is very good across all four discs. The whole comes with a very informative and exhaustive booklet containing introductory essays for each singer, as well as full libretti.

Highlights include Lisa Saffer's ravishing account of Falsa Imagine (Ottone) which Cuzzoni allegedly refused to sing as it was too plain - until Handel threatened to throw her out of the window..! Lorraine Hunt's re-enaction of Durastanti's Sesto role from Giulio Cesare sees a committed 'L'angue offenso mai riposa'. Drew Minter's coppery and languid countertenor gives delight in little-known arias from Riccardo Primo (Agitato da fiere tempeste) and Tolomeo (Stille Amare). Whilst David Thomas' cavernous bass voice ranges across opera and oratorio roles for Montagnana.

In all this is a superb collection that illustrates what a genius Handel was at characterisation and word-painting. No Handel lover will want to miss it.

Handel: Esther (The Sixteen Choir & Orchestra)

Average customer rating:

Handel: Esther (The Sixteen Choir & Orchestra)

Manufacturer: Regis Records
ProductGroup: Music
Binding: Audio CD

Classical | Indie Music | Stores | Music

General | Classical | Styles | Music
ASIN: B0000AOGN1
Release Date: 2003-07-09

Album Description

Anthony Robson, oboe -
Lynda Russell, soprano: Esther -
Nancy Argenta, soprano: Israelite Woman -
Michael Chance, Alto: Priest of the Israelites -
Thomas Randle, tenor: Ahasuerus/Second Israelite -
Mark Padmore, tenor: Mordecai/First Israelite -
Matthew Vine, tenor: Officer/Fourth Israelite -
Simon Berridge, tenor: Habdonah/Third Israelite -
Michael George, bass: Haman -
Robert Evans, bass1, Duet -
Simon Birchall, bass2, Duet -

Track Listings:

Track Listings

track listings

Track Listings

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Fantomen

Cow Town Blues [Import]

Wired Up [Live]

The Heavy Soul Experience of Mother Superior

Godfathers of Soul

Getting Sentimental Over

Conducts the Most Famous Overtures

Chet Atkins Picks on the Beatles

Cannonball Adderley Collection, Vol. 5: The Quintet at the Lighthouse [Live]

Coming Up [ENHANCED CD] [Enhanced]

Children of South America [Import]

Crash & Burn [Import]

VeggieTunes ~ Vol. 2

New Phil Woods Album

1. Overture Andante - Larghetito - Allegro
2. Recitative Habdonah/Haman: " 'Tis greater far to spare"
3. Aria Haman: " Pluck root and branch from out the land"
4. Recitative Persian Officer: "Our souls with ardour glow"
5. Chorus: "Shall we the God of Israel fear?"
6. Recitative First Israelite: " Now persecution shall lay by her iron rod"
7. Aria: " Tune your harps to cheerfull strains"
8. Chorus: " Shall we of servitude complain"
9. Aria Israelite Woman: " Praise the Lord with cheerful noise"
10. Recitative Israelite Woman: " 0 God, who from the suckling's mouth"

1. Recitative Esther/Mordecai: " Why sits that sorrow on thy brow?"
2. Aria Mordecai: " Dread not, righteous Queen, the danger"
3. Recitative Esther: "I go before the King to stand"
4. Aria Esther: " Tears assist me, pity moving"
5. Chorus: " Save us, O Lord"
6. Recitative Ahasuerus/Esther: "Who dares intrude into our presence"
7. Duet Esther/Ahasuerus: " Who calls my parting soul from death?"
8. Aria Ahasuerus: "0 beauteous Queen, unclose those eyes!"
9. Recitative Esther: " If I find favour in thy sight"
10. Aria Ahasuerus: " How can I stay when love invites?"