Partenope [Import]

Product Description
Includes Classics Such as " Te Vojo Bene Assaje", "Santa Lucia Luntana", "Passione" and More.

Tracks:

Mitridate, Re Di Ponto: Aria: Venga pur, minacci e frema
Mitridate, Re Di Ponto: Recitativo: Vadasi...O ciel
Mitridate, Re Di Ponto: Aria: Giagli occhi
Ombra felice... Io ti lascio, Concert aria K255: Recitativo: Ombra felice!
Ombra felice... Io ti lascio, Concert aria K255: Aria en rondeau: Io ti lascio
Ascanio in Alba: Aria: Ah di si nobil alma
Il Telemaco, o sia l'isola di Circe: Aria: Se per entro alIa nera foresta
Orfeo ed Euridice: Recitativo: Ahime! Dove trascorsi?
Orfeo ed Euridice: Aria: Che faro senza Euridice?
Orfeo ed Euridice: Aria: Che puro ciel
Tolomeo, re d'Egitto: Recitativo: Inumano fratel
Tolomeo, re d'Egitto: Aria: Stille amare
Partenope: Recitativo: Rosmira, oh Dio!
Partenope: Aria: Sento amor
Partenope: Aria: Ch'io parta?
Partenope: Aria: Furibondo spira il vento

Amazon.com

After a fine Handel recital CD, not to mention taking part in a dozen other major recordings, countertenor David Daniels has hit the jackpot. This fascinating, handsomely recorded CD offers us arias from Mitridate and Ascanio in Alba, and a concert aria by Mozart (the only one he composed for male alto), as well as some Handel and Gluck arias. With them, Daniels takes us through every quality a classically trained singer should have and comes through with flying colors. The arias are about vengeance, sorrow, love--the usual--but within baroque strictures that means that some require lush, limpid singing, others ferocious coloratura and exclamatory heft, and some all of these. Daniels is the one countertenor around who doesn't seem to be afraid of leaning on his voice. It's of course not within the ability of a voice produced so high up to "boom," but the gradation of dynamics he has at his command offers us many different colors and moods. It may be true that an entire hour of countertenorizing can tire the ear, but the program has been so well chosen and is so intelligently ordered that this is not an issue here. The Orchestra of the Age of Enlightenment plays energetically under the direction of Harry Bicket. Recommended for those who might be curious about how good this type of hybrid voice can actually be and certainly for fans of really good singing. --Robert Levine

Customer Reviews:

a voice teacher and early music fan.......2006-08-05

David Daniels is recognized as one of the outstanding American countertenors today, possessing a voice of great warmth and beauty along with a magnetic stage presence, which serves him very well, especially when singing operatic arias.This recording demonstrates very well indeed this ability. He has chosen operas from three composers:Mozart from "Mitridate" and "Ascanio in Alba" along with a beautiful Concert aria:"Ombra felice...Io ti Lascio"which I think is the highpoint of this disc.;Gluck:"Telemaco"-"Orfeo ed Euridice"; and of course Handel:"Tolomeo" and"Partenope". All renditons are perfectly performed with the correct emotional intensity, so much so that one wishes to see him doing all of these great arias. One comment about the statement made by Robert Levine implying that it would be somewhat difficult to listen to the countertenor voice for any prolonged length of time. I think that would depend upon the preference of the listener and his overall sensitivity to the music in question. I personally find GOOD countertenor voices to be ethereal, almost "other worldly" extremely pleasureable to hear!!!!

Daniels Soars to Conquer Mozart, Gluck and Handel.......2004-08-14

Countertenor David Daniels is a wonder, especially when you consider the rarity of a fine countertenor recital. On this, his second recital disc for Virgin Classics, Daniels confounds expectations by continuing his amazingly high batting average. By the very nature of the voice type, one would think the repertoire would be rather limited, the fullness of the notes compromised, the warmth sacrificed by the technical demands of maintaining such a high range. But Daniels breaks every rule and makes up a few new ones by tackling the works of Mozart and Gluck, as well as his perennial musical compass, Handel.

Two completely different selections from Mozart's first opera, "Mitridate", are included here - the aggressively rhythmic "Venga pur minacci e frema" with its intensely dramatic strings and the majestic and remorseful concluding aria "Vadasi...O ciel...Già dagli occhi". They illustrate Daniels' versatility in capturing the two sides of the nefarious character of Farnace. He also tackles the only concert aria Mozart ever wrote for a castrati, "Ombra felice...Io ti lascio", in an exquisitely modulated performance. The Gluck selections are highlighted by the touching "Che farò senza Euridice", which achieves an almost dream-like beatitude, and the pastoral "Che puro ciel". Although already breathtaking up to this point, Daniels saves the best for last as he goes back into familiar territory with Handel's two operas, "Tolomeo" and "Partenope", the latter which he has performed onstage on several occasions. From "Partenope" comes the beautiful title track "Sento amor" where his character Arsace experiences devotion and confusion over his still strong feelings for the disguised Rosmira. Daniels' vocal runs are especially amazing on the last aria, "Furibondo spira il Vento", where his conflicting feelings toward Rosmira come to a boil in a turbulent cauldron as she rejects him.

As with Daniels' first recital recording, the Orchestra of the Age of Enlightenment accompanies beautifully but this time under the expert baton of Harry Bicket, who later conducted Daniels in the 2001 Staatsoper München production of Handel's "Rinaldo" (now on DVD and highly recommended). "Sento amor" is a great recording, a must-have addition to any superior Baroque musical collection and further testament to the wondrous talent of David Daniels.

Not as good as his other recordings.......2000-09-21

David Daniels exhibits a beautiful voice and musicality, as usual. However, I found that this repertoire was not necessarily the best match for his voice, with the tessitura generally too low to showcase his abilities, combined with orchestration that was too overbalanced for the voice. Some of the lesser recorded selections were interesting from a historical perspective.

Dreary Dowland? Hello?.......1999-12-06

This newest cd "Sento Amor&quels is not only the greatest countertenor in the world, but certainly one of the greatest singers in the world. Congrats Mr. Daniels on reaching yet another plateau!

David Daniels Has Never Recorded Music by Dowland.......1999-12-02

"Sento amor" David Daniels' second solo recital on CD, raises the bar not just for countertenors but for all singers. To date he has recorded two solo recitals, a disc of Scarlatti cantatas, a live Poppea from Munich, and highlights from Arne's Alfred-- that's five. To me, "Sento amor" captures one of the most distinctively beautiful and dramatic voices that has ever recorded, so it's hard to believe that Daniels' voice could be confused with any other. I anxiously await the next recording-- will we have a Christmas album for next year?

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
Similar Items:

Mozart: Opera Arias
Handel Operatic Duets ~ Amor e gelosia / Ciofi · Di Donato · Il Complesso Barocco · Curtis
Natalie Dessay ~ Delirio (Handel Italian Cantatas)
Lamento
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:

Horne at her fiercest and most dazzling
One of the many legacies of Marilyn Horne
fantastic singing

Recital

Manufacturer: Erato
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

Horne, Marilyn | Divas | Opera & Vocal | Styles | Music
ASIN: B000005E49
Release Date: 1996-07-02

Tracks:

Arie Di Rinaldo: Arie Di Rinaldo: 'Or la tromba' (Rinaldo, Act III, scene 9)
Arie Di Rinaldo: Arie Di Rinaldo: 'Cara sposa' (Rinaldo, Act I, scene 7)
Arie Di Rinaldo: Arie Di Rinaldo: 'Venti, turbini' (Rinaldo, Act I, scene 9)
Arie Di Rinaldo: Arie Di Rinaldo: 'Cor' ingrato' (Rinaldo, Act I, scene 3)
Aria Di Serse: Aria Di Serse: 'Frondi tenere...Ombra mai fu' ISerse, Act I, scene 1)
Aria Di Arsace: Aria Di Arsace: 'Furibondo spira il vento' (Partenope, Act II, scene 9)
Aria Di Poppea: Aria Di Poppea: 'Bel piacere' (Agrippina, Act III, scene 10)
Aria Di Almirena: Aria Di ?Almirena: 'Lascia ch'io pianga' (Rinaldo, Act II, scene 4)
Aria Di Orlando: Aria Di Orlando: 'Fammi combattere' (Orlando, Act I, scene 10)
Aria Di Orlando: Aria Di Orlando: 'Nel profondo' (Orlando Furioso, Act I, scene 1)
Aria Di Orlando: Aria Di Orlando: 'Sorge l'irato nembo' (Orlando Furioso, Act II, scene 2)
Aria Di Orlando: Aria Di Orlando: 'Fonti di pianto' (Orlando Furioso, Act III, scene 6)

Customer Reviews:

Horne at her fiercest and most dazzling.......2003-05-17

Having recently purchased this recital at budget price on the French label Erato, I can say without reservation that this is bar none one of the best recitals I have ever purchased. Marilyn Horne is triumphant, especially in the Rinaldo and Orlando arias. Listen to her rapid-fire delivery of Venti Turbini. She switches from very low to very high passages, with absolute ease and bravura. She also navigates the fiendishly difficult intervallic coloratura, which is much harder to sing than bel canto coloratura. Likewise, her Cara Sposa is a delight. If you want something sophisticated and stylish, listen to David Daniels. If you want to explore the depths of sorrow, listen to Marilyn Horne. (Both are viable choices in their own right)

Marilyn also sings a variety of arias from other Handel operas, those currently being staged as part of the baroque revival that is taking part in the USA and Europe, which is reminiscient of the bel canto revival of the 50's. These offer more opportunities to hear her almost unprecedented octave range and breath control.

The recital ends with three arias from Vivaldi's Orlando il Furioso. The second one really blows me away. This is quintessential Horne. She is glorious!

One of the many legacies of Marilyn Horne.......2001-07-19

In terms of bel canto and Romantic opera, Marilyn Horne is and will always be remembered as a talented and unique milestone in the history of opera, a singer who set the standard for such roles as Adalgisa in Bellini's "Norma," Carmen in Bizet's opera of the same name, and various lead Rossini roles. To many connoisseurs of the opera of the Baroque age, Horne will be remembered as a pioneer, someone who singlehandedly took the forefront in reviving the castrato roles of Baroque opera's greatest son, Georg Friedrich Haendel, and encouraged other opera singers in the mainstream to do the same. We have Marilyn Horne to thank for the first Met staging of any Baroque opera, and also such mainstream singers as Cecilia Bartoli and Renee Fleming are indebted to her whenever they take the stage (or record) in such roles as Almirena or Alcina. Before Horne's pioneering work, Vivaldi was heard only in the concert hall, or occassionally in the church. Her encouragement of the performance of "Orlando furioso" for the 300th anniversary of the birth of Vivaldi marked a new chapter in the studies of Vivaldi's operas, as well as his other works and the operas of other Italian composers of the period. This CD recording is an important testament to Horne's legacy in the field of pre-Mozartean Italian opera.

In displaying her vocal fireworks in "Or la tromba" and "Venti, turbini," and providing new shades of never heard before nuance in "Cor ingrato" and of course, "Ombra mai fu," Marilyn Horne shows her genuine appreciation for the operatic music of Haendel, which unfortunately was for a long time performed in the same fashion as, say, Baroque oratorio. In other words, Horne throws off "museum piece" notions of Baroque vocal music along with the notion that Baroque music is appropriate only in the art song recital (i.e., Parisotti's "Arie Antiche"). Although her rather excessively free ornamentation and elaboration can at times be unsettling, she nonetheless does a beautiful job and proves that Baroque vocal music is in very alive. Let us remember, the Baroque Age, whether the likes of Grout and Groves approve of it or not, was a very Romantic period: this was the age of Bernini's "Ecstasy of St. Theresa" and Farinelli, of Caravaggio and of le Roi soleil, Louis XIV. Horne finally shows that Baroque music must be percieved in the same strain as well.

Now on to a few of the arias themselves. "Or la tromba" is magificently sung and played, and one admires both Horne's impressive command and agility of voice and her emphasis on making a castrato aria sound like a piece for a hero, thereby acquiring a manly and heroic timbre as opposed to a relatively seductive female one acquired by far too many recitalists. In "Ombra mai fu," she proves that the famous aria, formerly known as "Handel's Largo," can still have many things to offer in terms of interpretation and nuance. The opera "Serse," from which the aria is taken, is a combination of comic and romantic strains in opera, and Horne realizes that in her interpretation of the aria. In "Cor ingrato" and "Cara sposa," Horne shades and colours the arias to reveal the pain and suffering (and yet very Baroque self-conscious sentimentality) of the hero who has lost his beloved.

There are, however, reasons for which I gave this CD 4 stars out 5, but let me first say that none of it is Marilyn Horne's fault. First of all, the Solisti Veneti under Maestro Scimone are nothing but of the highest caliber, but the orchestral playing is slightly sloppy at times and tends to weigh down in some places. Second of all, one should purchase this album for the Haendel arias and definetely not the Vivaldi arias, because the arias "Nel profondo," "Sorge l'irato," and "Fonti di pianto" are very facile and fluffy examples of Vivaldi's operatic output, which is better represented by Cecilia Bartoli's "Vivaldi Album" on the Decca label. But Marilyn Horne excels and amazes at every turn, and in every aria, therefore it does not really diminish my opinion of her or this CD in any way.

fantastic singing.......2000-02-21

As an introduction to bel canto this cd is a good place to start. Marilyn Horne's rich mezzo is not what was originally intended for this music, but it sounds wonderful nonetheless. Her rendition of "Fammi Combattere" and "Or La Tromba" is stirring stuff, while the famous aria "Lascia chi'o pianga..." is tenderly sad.

Tracks:

Ouverture
Tu Dell' Eccelse Mura
No.1: Viva Viva Partenope Viva
Arsace
Regina In Folte Schiere
No.2: L' Amor Ed Il Destin
No.3: O Eurimene Ha L' Idea Di Rosmira
Cavalier, Se Gli Dei
No.4: Se Non Ti Sai Spiegar
Armindo Ardisci E Prova
No.5: Voglio Dire Al Mio Tesoro
Ah! Ch' Un Volto Fatal Mi Da Gran Pena
No.6: Un Altra Volta Ancor
Rosmira, Oh! Dio! Rosmira
No.7: Sento Amor Con Novi Dardi
Stan Pronti I Miei Guerrieri A Stringer L' Armi?
No.8: T' Appresta Forse Amore
Signora
E Di Che Reo Son Io?
No.9: Per Te Moro
E Se Giunge Eurimene?
No.10: Sei Mia Giaoja, Sei Mio Bene
No.11: Dimmi Pietoso Ciel
Ecco Emilio
No.12: Anch' Io Pugnar Sapro
Arsace, Tu Sarai
No.13: Io Ti Levo L' Impero Dell' Armi
Lascia Deh! Lascia, O Prence
No.14: E Figlio Il Mio Timore
Prence, Di Te Mi Lagno
No.15: Io Seguo Sol Fiero

Tracks:

No.16: Sinfonia
Forti Mie Schiere, Alla Vicina Impresa
No.17: Marche
Ma Le Nemiche Squadre
No.18: Con Valarosa Mano
Soccorso
No.19: Sinfonia
Renditi, O Pure Estinto
No.20: Vi Circondi La Gloria D' Allori
No.21: Contro Un Pudico Amor Cotanto Sdegno
No.22: Barbaro Fato Si
No.23: Care Mura In Si Bel Giorno
Emilio!
No.24: Voglio Amare Insin Ch' Io Moro
Ti Bramo Amico, E Teco
No.25: E Vuoi Con Dure Tempre
Non Puo Darsi In Un Petto
No.26: Furie Son Dell' Alma Mia
A Pro Di Chi T' Offese
No.27: Poterti Dir Vorrei
Regina
No.28: Non Chiedo O Luci Vaghe
Piu D' Ogn' Altro Sarebbe
No.29: Qual Farfalletta
Quanto Godo Eurimene
Rosmira Mia, Mio Bene!
No.30: Furibondo Spira Il Vento

Tracks:

No.31: Sinfonia
Regina Ti Compiace
No.32: Non E Incauto Il Mio Consiglio
Partenope, Eurimene
No.33: Arsace, Oh Dio! Cosi
Chi M'Apre I Lumi, E Che Mi Scioglie Il Core?
No.34: Spera E Godi O Mio Tesoro
Prencipe Ardir
No.35: La Speme Ti Consoli
Rosmira, Ove Ti Guida
No.36: Ch' Io Parta? Si Crudele
Oh Dio! Perche Dal Petto
No.37: Quel Volto Mi Piace
Ormonte; Ti Destino
No.38: Nobil Core, Che Ben Ama
Non Chiedo, Oh Miei Tormenti!
No.39: Ma Quai Note Di Mesti Lamenti
No.40: Cieli Che Miro! Abbandonato E Solo
(Ma Partenope Vien; Finger Degg' Io)
No.41: Un Cor Infedele
Passo Di Duolo In Duolo
No.42: Fatto E Amor Un Dio D' Inferno
Di Bel Desire Avvampo
No.43: La Gloria In Nobil Alma
No.44 Sinfonia
Regina, In Queste Arena
No.45: Si Scherza Si
Armindo Sia Mio Sposo
No.46: D' Imeneo Le Belle Sede

Customer Reviews:

A Fine New 'Partenope' Missing a Bit of the Humor.......2005-07-10

Scattered throughout Handel's long & productive career in Italian opera are several works which challenge the notion of opera seria as invariably heroic & ultra-serious - works like the early 'Agrippina'(1709) & the late 'Serse'(1739).
Like them, 'Partenope'(1730) has a distinct flavor of ironic comedy, which allows Handel to compose a fine score that moves sure-footedly between serious passion & a lighter (though never farcical) view of the foibles of human beings in love. (In his notes to the present set, David Vickers likens 'Partenope' to Shakespeare's 'Twelfth Night.) In this, he's helped greatly by the libretto (after Silvio Stampiglia), one of the best he ever set. Altogether, 'Partenope' is a delightful work that deserves to be far better known.
This, the second complete commercial recording of 'Partenope' (see below), is a success. The orchestra of the Early Opera Company - at a basic size of 18 players - makes a positive CD debut under their founder/conductor Christian Curnyn with a well-paced & -played reading of the score, & provide a firm foundation for a strong cast of soloists, who moreover show welcome restraint & good taste in their ornamentation. Soprano Rosemary Joshua (Partenope) gives an outstanding performance, lovely vocally & lively dramatically; counter-tenor Lawrence Zazzo (as her suitor Arsace) is also excellent. As Arsace's jilted lover Rosmira, the dark-voiced alto Hilary Summers excels in the serious arias of jealousy & anger, perhaps less so in the more playful moments. Also, the decision to have her adopt a 'straight' vocal tone when in her male disguise as Eurimene - ie. for 3/4 of the piece - makes it difficult to distinguish her from the 2 counter-tenors in many of the long recitative scenes.
If I have one reservation about this performance, it's that the dramatic irony in the piece is often underplayed, especially in some of the more complicated scenes - for instance, those of Rosmira's repeated public taunting of Arsace (who has unwisely promised not to reveal her true identity).
Turn to the 1979 recording (released on CD in 1990) conducted by Sigiswald Kuijken & to my ears you hear more of the distinct bittersweet, semicomic flavor of 'Partenope.' In particular, both women are outstanding: Kristina Laki is a charming Partenope & Helga Mueller-Molinari a high-spirited Rosmira who enlivens every scene she's in with crisp, forward diction. And the rest of the cast, generally lighter-voiced than on the new recording, is also fine, though admittedly not everyone will warm to Rene Jacobs's voice or style in the role of Arsace. But what really makes this one of my all-time favorite Handel opera recordings is the playing of La Petite Bande under Kuijken: the rhythmic verve is infectious, the shaping of each number impeccable. [Note: This set is not currently available in the U.S. Try amazon.de] In every other respect, however, this new version is a worthy successor & very enjoyable.

Emma Kirkby - Handel Opera Arias and Overtures · 2 / Brandenburg Consort · Goodman

Average customer rating:

Handel at the Opera House

Emma Kirkby - Handel Opera Arias and Overtures · 2 / Brandenburg Consort · Goodman
George Frideric Handel , Roy Goodman , Emma Kirkby , and Brandenburg Consort
Manufacturer: Hyperion
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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

Operettas | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

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

ASIN: B00004SV5E
Release Date: 2000-05-09

Tracks:

Lotario: Ov - The Brandenburg Consort/Roy Goodman
Lotario: Act I: Scherza In Mar
Partenope: Act I: Io Ti Levo
Ezio: Act I: Caro Padre
Sosarme, Re Di Media: Act I: Ditte Pace
Sosarme, Re Di Media: Act III: Vorrei, Ne Pur Saprei
Atalanta: Ov - The Brandenburg Consort/Roy Goodman
Arianna In Creta: Act II: Son Qual Stanco
Alcina: Act III: Ah! Ruggiero
Berenice, Regina D'Egitto: Act III: Chi T'intende?
Deidamia: Ov - The Brandenburg Consort/Roy Goodman
Deidamia: Act III: M'hai Resa Infelice

Amazon.com

Yes indeed, the Divine Miss Em has still got it. It was the late 1970s when Emma Kirkby first became the leading diva of the early-music revival. More than 20 years on, as this disc of mostly lesser-known Handel treats demonstrates--a follow-up to volume I--Kirkby remains a spectacular Handel singer. The pure tone, control over vibrato, astonishing agility, and immaculate delivery that made her world famous are all still in place; if anything, two decades of experience have made her even more brave and imaginative in the way she embellishes a da capo aria. It must be said that Kirkby also retains a somewhat restricted palette of vocal color. As Ted Perry of Hyperion Records has put it, "She sounds like a nice person, and she is." This means, of course, that she has never sounded entirely convincing in portraying intense grief, fear, or fury. So her big soliloquy-aria from Alcina, "Ah, Ruggiero! / Ombre pallide," in which the eponymous sorceress tries desperately to conjure spirits, isn't entirely persuasive dramatically, however skillfully Kirkby sings it. The other arias are much better suited to her gifts, however: the melancholy in "Son qual stanco" from Arianna in Creta, the tender pleas of "Caro padre" from Ezio, and the dialogue with solo oboe from Berenice are all beautifully rendered. The beginning and end of the disc are the real treats, though. Kirkby's virtuosity in "Scherza in mar" from Lotario is positively dizzying, and her aria from Deidamia is both thrilling and emotionally affecting. --Matthew Westphal

Customer Reviews:

Handel at the Opera House.......2005-09-05

This is a marvellous introduction to the world of Handel operas. Emma Kirkby is in superb form and the playing by the Brandenburg Consort is also first-class. The well selected program includes a nice variety of absolutely fabulous music. This is a CD that you will listen to over and over again and never get tired of. Give a copy to your friends. - Dale Higbee

Average customer rating:

Classic Set of Handel's Delightful Romantic "Comedy"

Georg Friedrich Handel: Partenope

Manufacturer: Deutsche Harmonia Mun
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
Similar Items:

Handel: Alcina - Arleen Auger, Delia Jones, John Tomlinson, Richard Hickox, City of London Baroque Sinfonia
Hasse - Cleofide / Kirkby, Mellon, Wong, Ragin, Visse, Cordier, Cappella Coloniensis, Christie
Handel: Radamisto
Händel: Arianna in Creta, HWV 32
Handel - Almira / Monoyios, Rozario, Gerrard, Fiori musicali, Lawrence-King

ASIN: B000026NGY
Release Date: 1990-05-01

Tracks:

Act One
Act Two
Act Three

Customer Reviews:

Classic Set of Handel's Delightful Romantic "Comedy".......2006-09-26

Scattered throughout Handel's long & productive career in Italian opera are several works which challenge the notion of opera seria as invariably heroic & ultra-serious - works like the early 'Agrippina'(1709) & the late 'Serse'(1739).
Like them, 'Partenope'(1730) has a distinct flavor of ironic comedy, which allows Handel to compose a fine score that moves sure-footedly between serious passion & a lighter (though never farcical) view of the foibles of human beings in love. In this, he's helped greatly by the libretto (after Silvio Stampiglia), one of the best he ever set. Altogether, 'Partenope' is a delightful work that deserves to be far better known.
This 1979 Harmonia Mundi set was the 1st complete commercial recording of 'Partenope', and despite a strongly cast recent version on Chandos it remains my personal favorite. To my taste, Sigiswald Kuijken and La Petite Bande give the score a delightful rhythmic spring, and the individual bittersweet, semicomic flavor of 'Partenope' comes across more strongly than on the new set. Some listeners may prefer the richer sound of the singers on the Chandos set, but there are no weak links here and both women in the cast are outstanding: soprano Kristina Laki is a charming Partenope & alto Helga Mueller-Molinari a high-spirited Rosmira who enlivens every scene she's in with crisp, forward diction -- I definitely prefer her to Hilary Summers on Chandos (a fine voice but perhaps miscast). Admittedly, not everyone will warm to counter-tenor Rene Jacobs's voice or style (a bit swoopy-swoony in places) in the role of Arsace; Lawrence Zazzo on Chandos is preferable. Also, there's a minimum of vocal decoration in the da capo arias, though personally I find this comes as welcome relief after so much overelaborate decoration on more recent recordings.
Despite its age, for me this remains one of the most enjoyable of all Handel opera recordings. Recommended.
(Note on translations: this set provides separate Italian, German, English and French texts; the Italian & English are photocopied from the original libretto. Chandos gives double columns of Italian and English (still the old translation, but reset in modern type), a far more convenient format.)

Average customer rating:

The Artistry of Richard Crooks Vol.I

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Tracks:

Floridante: Alma mia
Comus: Preach not me
Serenade
Parthenope: Se mia gioia
Dedication, Op. 14-1
L'Adieu du matin
A dream, Op. 48-6
Serenade
I Love Thee, Op. 5-3
The Whyte Lillie
Hark, How Still, Op. 10-2
Passing By
Aida: Celeste Aida
Carmen: Flower Song
TOSCA: Recondita armonia
The Lost Chord
Macushla
Bird songs at eventide
Oh, Susanna!
Jeanie With The Light Brown Hair
The Desert Song: One Alone
The Vagabond King: Only A Rose
Beautiful Dreamer
The Rosary
Love Everlasting
The Student Prince: Serenade
Naughty Marietta: Ah, Sweet Mystery Of Life!

Average customer rating:

Handel For The Highway

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

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

Oratorios | Opera & Vocal | Styles | Music

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

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B000003FSD
Release Date: 1998-01-13

Tracks:

The Arrival Of The Queen Of Sheba (From Solomon) - CO of Europe/James Galway
Water Music: I. Minuet for Horn - RCA Victor SO/Leopold Stokowski
Water Music: II. Andante - RCA Victor SO/Leopold Stokowski
Water Music: III. Allegro - RCA Victor SO/Leopold Stokowski
Water Music: IV. Adagio - RCA Victor SO/Leopold Stokowski
Water Music: V. Bourree - RCA Victor SO/Leopold Stokowski
Water Music: VI. Hornpipe - RCA Victor SO/Leopold Stokowski
Water Music: VII. Air - RCA Victor SO/Leopold Stokowski
Water Music: VIII. Alla Hornpipe - RCA Victor SO/Leopold Stokowski
Ov And Gigue From Partenope - Le Petite Bande/Sigiswald Kuijken
Da Tempeste Il Legno Infranto (From Giulio Cesare) - Beverly Sills
Con Grosso Op.6, No.5 in D: I. Larghetto E Staccato - Robert Salter
Con Grosso Op.6, No.5 in D: II. Allegro - Robert Salter
Con Grosso Op.6, No.5 in D: III. Presto - Robert Salter
Con Grosso Op.6, No.5 in D: IV. Largo - Robert Salter
Con Grosso Op.6, No.5 in D: V. Allegro - Robert Salter
Con Grosso Op.6, No.5 in D: VI. Menuet - Robert Salter
Allegro I (From Org Con No.13 in F) - Rudolf Ewerhart/Collegium Aureum
Adagio/Allegro Ma Non Troppo (From Org Con No.16 in F) - Rudolf Ewerhart/Collegium Aureum
Ov To Music For The Royal Fireworks - RCA Victor SO/Leopold Stokowski
Allegro From Con Grosso Op.6, No.7 in B-flat - Robert Salter

Century Classics, 1650-1750: Baroque Love

Average customer rating:

Century Classics, 1650-1750: Baroque Love

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

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

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00000DHJE
Release Date: 1998-11-10

Tracks:

Overature - La Petite Bande
Recitativo: 'Ecco Tassile' - La Petite Bande
Aria: 'Quanto Dolce Amor Saria' - La Petite Bande
Overature - Freiburger Barockorchester
'If Music Be The Food Of Love' - Howard Crook
'Thrice Happy Lovers' - Howard Crook
Courante (Suite BWV 1066) - Elly Ameling
Gavotte I & II (Suite BWV 1066) - Elly Ameling
'Weichet Nur, Betrubte Schatten' - Elly Ameling
Aria: 'Lo Gia T'Amai, Ritrosa' - Christoph Pregardien
'Frondosa, Apacible Estancia', 'Moradores De Estas Playas' - Anne Grimm
'Y Asi Le Festejen' - Anne Grimm
'Ay Amor' - Anne Grimm
'El Moble Diamante' - Anne Grimm
'Y Pues Tierra' - Anne Grimm
Carolan's Concerto: Mrs Poer - The Harp Consort
Aria: 'Chi Mi Vuol Son Cameriera' - Mechthild Bach
Overture - Krisztina Laki
Extracts From The Opera 'Partenope' - Krisztina Laki
Coro: 'Viva, Viva, Partenope Viva' - Krisztina Laki
Aria: 'L'Amor Ed Il Destin' - Krisztina Laki
Coro: 'D'Imeneo Le Belle Sede' - Krisztina Laki

Average customer rating:

Partenope
Marco Siniscalco , and Antonella Grossi
Manufacturer: Edel
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

General | Jazz | Styles | Music

International | Imports | Stores | Music
ASIN: B0006VF9E0
Release Date: 2004-12-13

Tracks:

Palummella
Te Voglio Bene Assaje
Santa Lucia Luntana
Dimme 'Na Vota Si'
Maruzzella
Reginella
Canzone Appassiunata
Villanella Ch' All' Acqua Vai
A Serenata 'E Pulicenella
I' Te Vurria Vasa
Fenesta Vascia
Tamurriata Nera
Nuttata 'E Sentimento
Passione
Nun Me Sceta'
Maria Mari'

Album Details

Includes Classics Such as " Te Vojo Bene Assaje", "Santa Lucia Luntana", "Passione" and More.

Pop Music:

Pop Music