Un Porto Nel Vento & Boys in Time [Import]

1. Porto Nel Vento

2. Cambio Tutto

3. Voglio il Mio Nido

4. Se Te Ne Vai

5. Pepe Bar

6. Telefono Elettronic

7. Amami

8. Stella Mia

9. Chi Tene Vint'anne

10. Anno Senza Te

11. Boys in Time - Samuele Bersani, Ron

12. Colomba

13. Sei Dentro Di Me [Save the Last Dance for Me]

Tracks:

Agrippina: Sinfonia
Agrippina: Act One : Recitativo - Nerone, amato, figlio! (Agrippina, Nerone)
Agrippina: Aria - Col saggio tuo consiglio (Nerone)
Agrippina: Recitativo - Per cosrande impresa (Agrippina)
Agrippina: Aria - La mia sorte fortunata
Agrippina: Recitativo - Or che Pallante into (Agrippina,)
Agrippina: Aria - Volo pronto, e lieto il core
Agrippina: Recitativo - Quanto fa,quanto puote (Agrippina); Aria - L'alma mia fra le tempeste (Agrippina)
Agrippina: Arioso - Qual piacere a un cor pietoso (Nerone); Recitativo - Prendi tu ancora, prendi (Nerone); Arioso - Ma rassembra tormentoso (Nerone)
Agrippina: Recitativo - Amici, al sen vi stringo (Nerone, Agrippina)
Agrippina: Recitativo - Voi, Che dell'alta Roma (Agrippina); Quartetto - Il tuo figlio (Pallante, Narciso, Agrippina, Nerone)
Agrippina: Recitativo - Ma qual di liete trombe (Agrippina); Arietta - Allegrezza, allegrezza!; Recitativo - Che sento! (Nerone)
Agrippina: Recitativo - Alle tue piante, o Augusta (Ottone, Agrippina)
Agrippina: Aria - Tu ben degno (Agrippina)
Agrippina: Recitativo - L'ultima del gior meta gradita (Ottone); Aria - Lusinghiera mia speranza (Ottone)
Agrippina: Aria - Vagne perle, eletti fiori (Poppea)
Agrippina: Recitativo - Otton, Claudio, Nerone (Poppea, Agrippina)
Agrippina: Aria - E un foco quel d'amore (Poppea)
Agrippina: Recitativo - Ma qui Agrippina viene (Poppea, Agrippina)
Agrippina: Aria - Ho un non so nel cor (Agrippina)
Agrippina: Recitativo - Cieli,quai strani casi; Aria - Fa quanto vuoi
Agrippina: Recitativo - Non veggo alcun
Agrippina: Aria - Pur ritorno a rimirarvi (Claudio)
Agrippina: Recitativo - Ma, oh ciel, mestra e confusa (Claudio)
Agrippina: Arietta - Vieni, o cara (Claudio)

Tracks:

Agrippina: Act One : Recitativo - Che mai faro (Poppea, Claudio); Terzetto - E quando mai i frutti (Claudio, Poppea); Recitativo - Pur al fin si riando (Poppea, Agrippina)
Agrippina: Aria - Non ho cor che per amarti (Agrippina)
Agrippina: Recitativo - Se Ottone m'inganno (Poppea); Aria - Se giunge un dispetto (Poppea)
Agrippina: Act Two : Recitativo - Dunque noi siam traditi?
Agrippina: Aria - Coronato il crin d'alloro (Ottone); Recitativo - Roma, piu ch'il trionfo (Ottone, Agrippina, Nerone)
Agrippina: Recitativo - Ecco il superbo (Agrippina, Poppea, Nerone, Ottone)
Agrippina: Coro - Di timpani e trombe (Poppea, Nerone, Agrippina, Ottone)
Agrippina: Recitativo - Nelle Britannia vinta (Claudio); Aria - Cade il mondo soggiogato(Claudio)
Agrippina: Recitativo - Signor, quanto il mio core (Agrippina, Claudio, Poppea, Nerone, Ottone)
Nulla sperar da me (Agrippina); Recitativo - E tu, Poppea (Ottone); Aria - Tuo ben l trono (Poppea); Recitativo -Soccorri almen, Nerone! (Ottone); Aria - Sotto il lauro ch'hai sul crine (Agrippina); Recitativo - Scherzo son del destino (Ottone)
Agrippina: Recitativo - Otton,qual portentoso fulmine (Ottone)
Agrippina: Aria - Voi che udite il mio lamento (Ottone)
Agrippina: Aria - Bella pur del mio diletto (Poppea); Recitativo - Il tormento d'Ottone (Poppea)
Agrippina: Arioso - Vaghe fonti (Ottone); Recitativo - Ma qui che veggo, oh cieli! (Ottone); Recitativo - Ottone traditore! (Poppea, Ottone)
Agrippina: Aria - Ti vo'giusta e non pietosa (Ottone)
Agrippina: Recitativo - Di quali ordite trame (Poppea, Nerone)
Agrippina: Recitativo - Pur al fine ti retrovo! (Poppea)
Agrippina: Aria - Col peso del tuo amor (Poppea)
Agrippina: Recitativo - Qual bramato piacere (Nerone); Aria -Quando invita la donna l'amante (Nerone)
Agrippina: Aria - Pensieri, voi mi tormentate! (Agrippina); Recitativo - Quel ch'oprai e soggetto a gran periglio (Agrippina); Aria - Pensieri, voi mi tormentate! (Agrippina)
Agrippina: Recitativo - Se ben nemica sorte (Agrippina)
Agrippina: Aria -Col raggio placido

Tracks:

Agrippina: Act Two : Recitativo - Di giunger non dispero al mio desire (Agrippina)
Agrippina: Aria - Spereroi che mel dice
Agrippina: Recitativo - Per dar la page al core (Agrippina, Claudio)
Agrippina: Aria - Basta sol che tu chieda (Claudio)
Agrippina: Recitativo - Favorevol la sorte oggi m'arride (Agrippina); Aria - Ogni vento ch'al porto lo spinga (Agrippina)
Agrippina: Act Three : Recitativo - Il caro Ottone al precipizio io spinsi (Poppea, Ottone)
Agrippina: Aria - Taceracerttone)
Agrippina: Recitativo - Attendo qui Nerone e Claudio ancora (Poppea, Nerone, Ottone)
Agrippina: Aria - Coll'ardor del tuo bel core (Nerone)
Agrippina: Recitativo - Amico ciel, seconda il mio disegno (Poppea, Claudio, Nerone, Ottone)
Agrippina: Aria - Io di Roma il Giove sono (Claudio)
Agrippina: Recitativo - Pur al fin se ne andoppea, Ottone)
Agrippina: Aria - Pur ch'io ti stringa al sen (Ottone)
Agrippina: Recitativo - Piega pur del mio cor (Poppea); Aria - Bel piacer (Poppea)
Agrippina: Recitativo - Cotanto osppea? (Agrippina, Nerone)
Agrippina: Aria - Come nube che fugge dal vento (Nerone)
Agrippina: Recitativo - Evvi donna piia? (Claudio, Agrippina)
Agrippina: Recitativo - Adorato mio sposo (Agrippina, Claudio)
Agrippina: Aria - Se vuoi pace, o volto amato (Agrippina)
Agrippina: Recitativo - Ecco la mia rivale (Agrippina, Poppea, Nerone, Ottone, Claudio)
Agrippina: Coro - Lieto il Tebro inscrespi l'onda
Agrippina: Recitativo - D'Otton e di Poppea sul grande innesto; Aria - V'accendano le tede
Agrippina: Ballo

Customer Reviews:

a voice teacher and early music fan.......2006-05-20

May I Please award this l0 stars!!!!Every singer in this opera was first-rate. And imagine having that great duo of countertenors :Michael Chance and Derek Ragin together again as in the opera "Tamerlano". IN addition, we have Jonathan Kenny another countertenor who sings quite well. This opera gave Handel the first great popular triumph of his career. It was composed while he was visiting Italy in 1706. The story is about Agrippina who was Nero's mother and her manipulations to get him the throne from the emperor Claudius. The situations are full of humour, but for the most part, the characters are motivated by strong, even passionate impulses. Michael Chance portrays "Ottone" the commander of the imperial army and the one who is deceived thruout the entire opera until the end when (believe it or not) everybody gets what they want. The voices of Chance and Ragin make a nice contrast:Chance's voice: rich, mellow filling up his entire body with sound;Ragin's voice: lighter, strong prone to more vibrato and ornaments. This opera is a marvelous listening treat; worth the effort it will be to purchase it.

An wonderful recording of this important opera that set Handel on his path to fame and history.......2005-10-31

Some believe that it was the brilliance of this opera that led to Handel being invited to London. Handel was reluctant to write because he didn't see any advantage to doing all that work. However, he was persuaded and set it to a brilliant libretto by Vincenzo Grimani. Apparently the entire opera was written in only a few weeks. Some dispute this because of the quality of the writing, but contemporary testimony and Handel's fast work habits lead others to believe this accomplishment to be true.

Beyond the names, general moral depravity, and a broad historical shape, this is not an historical story. Some see it as simple a comedy of courtly manners, but others see some sly commentary on the War of Succession that was then ongoing. When Charles II died he bequeathed the crown to Phillip V much to the consternation of Leopold I, the Holy Roman Emperor, who wanted to maintain his territory intact. In this opera, Claudius names Otho his successor much to the consternation of Agrippina.

The opera opens when Agrippina receives news that Claudius has died at sea. She seizes the opportunity to advance her son, Nero, to be named Emperor. However, just before he can be crowned, Claudius arrives. He had been saved by Otho and in gratitude named him his successor. Agrippina cannot confront him directly but uses her knowledge of Claudius and his lust for Poppea to spring her trap and it almost works.

Poppea is a beauty who trades on that, but if she cares for anyone it is Otho, but she cannot deny the Emperor. It also turns out that Nero has improper desires for her as well. It is Nero's chasing her that actually undoes Agrippina's plan, but in the end all works out. Agripina gets her son names to the throne, Poppea gets Otho, and Claudius gets some peace and quiet.

The music is marvelous. It is important to remember that opera was only a century old at this time; about the same distance from the beginning of football or maybe basketball to our present time. Certain aspects of the recitative and aria had certainly been developed and made more brilliant, but there was much left to explore in the form. Handel added a great deal to the expressiveness and character development in his creative use of music appropriate to the character, for example Claudius is given wide leaps and musical lines the emphasize his clumsy and awkward qualities. These are qualities Handel develops over his career writing dozens of brilliant operas.

In this opera the roles of Nero, a boy still learning evil from his mother, was written for a castrato, but sung here by the brilliant countertenor Derek Lee Ragin. Otho was originally written for a woman, but sung here by the terrific countertenor Michael Chance. Agrippina is given all her devious splendor by Della Jones, and Poppea's beautiful shrewdness by Donna Brown. Claudius requires a very special bass voice that can plumb the depths down to the C below the staff and Alistair Miles is simply wonderful in the role.

This is a treasure of a recording of a very important opera to Handel's career. Starting with "Rinaldo" Handel wrote more brilliant operas, and others that were more subtle. However, this was the one that got him the attention that set him on the course of fame and history.

Jones and Miles are fantastic.......2001-10-03

I'll stay out of the pro/contra countertenor argument- I am by far most impressed with Della Jones and Alastair Miles. They sing their music magnificently, not just with generally impeccable technique but with as much drama as any Verdi opera. No boring stand and sing baroque nonsense with these two. Miles has a big, rich, incisive, gorgeous basso that could sing Verdi, yet has no trouble with the coloratura. Beautiful diction and full understanding in the delivery of his recitative (Donna Brown deserves credit in this area as well).

It is almost needless to say, but Della Jones delivers her usual hgihly involved, totally committed performance with complete conviction. Every word from scheming Agrippina is invested with meaning- when do baroque recitiatives (which can be so tiresome) sound this exciting? Her arias could hardly be better sung, with beautiful line in her slow solos and accuracy at high speed in the fast coloratura. Nothing is tossed off as mere display- she sacrifices tone for dramatic expression, but just a couple of times. A real tour de force for Jones, and more justification for my impulse to buy any recording with her name on it without having to hear it first.

first class recording of one of Handel's finest operas.......2000-11-18

When it comes to recordings of Handel's Agrippina there is admitedly little to choose from. Fortunately the two recodings we have available are excellent and either will give you a fine representation of the score. Ultimately it will come down to which conductor you prefer: Gardiner versus Mcegan. Gardiner seems to favor a more dramatic, and slightly slower approach, to the music. The orchestra really crackles in the fast numbers ("lalma fra le tempeste", etc.) in a way that Mcegans do not. I miss something of Mcegans lightness and finesse at times, but Gardiners dramatic take on the music is undeniably well executed by his forces. The singers are an interesting lot and I mean this in the best way possible. Della Jones flies through Agrippinas spiky coloratura with extraordinary ease and her highly unique true mezzo helps to give the character necessary venom. Her countrerpart on the Mcegan set is the very fine Sally Hayword who sings coloratura as brilliantly as Della Jones and makes up for what she may lack in vocal juice with a keen verbal sense. Donna Brown has a juicier voice than Lisa Safer on the Mcegan set. She sings Poppeas virtuosic music exceedingly well and creates a compelling character. As for Nerone, Derek Lee Ragin frankly sounds uncomfortable with the soprano tessitura of his part (the part lies higher than Agrippinas part) but when coloratura is called for he delivers brilliantly. On the Mcegan set Ottone is sung by the fine Drew Minter and while his slightly chalky voice may not be the most beautiful sound in the world he uses it with such complete musicality and strong sense of Handelian style that it makes up for any vocal shortcomings. Michael Chance sings well as Ottone on the Gardiner set but I find the voice a little colorless and uninteresting. I miss something of Minters dramatic fire. Miles is a very good Claudio. His voice is more cupo than we are used to hearing in Handel's music nowadays but he handles the fiendishly wide ranging coloratura so well that he seems beyond reproach. The supporting players are better on the Gardiner set including the added bonus of Ann Sofie von Otter singing as stylishly as ever as Giunone.

Absolute Genius from young Handel........2000-11-03

This recording of Handel's 3 opera, is indispensable. The voices are beuatiful, and the music, (as always) is beuatiful and gorgeous. The leading role of Agrippina, Della Jones, is great, the Nerone, Derek Lee Regin, is great in the soprano role. I had never Ragin's voice before, when I heard this, I thought a real female soprano was singing this, this man is great! The Claudio is a little to cupo, I think he sould back off some, the two henchmen are also good. And of course, Anne sofie, and Micheal Chance are always great. The orchestra is on Period instruments, which I very much appreciate (thank you so much John Eliot Gardiner) and of course, Gardiner is a great Handel interpreter. The orchestra is very crisp, and very good on the slow tempi arias, and brisk and quick on the bravuratura arias. The Beautiful, gorgeous aria, in the second act of this opera, "Voi che uditi il mio lamenti" is absolutely beautiful, the rythmic balance, Polyphony are genius, and this is why I love Handel's Music. The Arias are gorgeous, and the music is always great. I cannot begin to complement Gardiner, and the english Baroque Soloists on their porformance of this opera. The tempi is great, and I will always cherish this recording for ever. Buy this it is worth it's money!

Average customer rating:

Un Porto Nel Vento
Ron
Manufacturer: Wea
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music
ASIN: B00004TRNY
Release Date: 1999-02-28

Average customer rating:

Un Porto Nel Vento & Boys in Time
Ron & Stelle
Manufacturer: Wea International
ProductGroup: Music
Binding: Audio CD

General | International | Styles | Music

International | Imports | Stores | Music

Rock | Imports | Stores | Music
ASIN: B00000IHOF
Release Date: 2001-09-25

Tracks:

Porto Nel Vento
Cambio Tutto
Voglio il Mio Nido
Se Te Ne Vai
Pepe Bar
Telefono Elettronic
Amami
Stella Mia
Chi Tene Vint'anne
Anno Senza Te
Boys in Time - Samuele Bersani, Ron
Colomba
Sei Dentro Di Me [Save the Last Dance for Me]

Pop Music:

Pop Music