Alan Curtis & Simone Kermes - Handel: Rodelinda (2005)
Artist: Alan Curtis, Il Complesso Barocco, Simone Kermes
Title: Handel: Rodelinda
Year Of Release: 2005
Label: Archiv Produktion
Genre: Classical
Quality: FLAC (image + .cue, log, artwork)
Total Time: 03:11:53
Total Size: 1.04 GB
WebSite: Album Preview
Tracklist:Title: Handel: Rodelinda
Year Of Release: 2005
Label: Archiv Produktion
Genre: Classical
Quality: FLAC (image + .cue, log, artwork)
Total Time: 03:11:53
Total Size: 1.04 GB
WebSite: Album Preview
CD 1
01. Ouverture
02. Menuet
03. No.1 Aria: Ho Perduto Il Caro Sposo
04. Recitativo: Regina?/Grimaoldo, Nel Mio Presente Stato
05. No.2 Aria: L'Empio Rigor Del Fato
06. Duca, Vedesti Mai Piu Bel Disprezzo?
07. No.3 Aria: Io Gia T'Amai
08. Recitativo: E Tu Dici D'Amarmi?
09. No.4 Aria: Lo Faro, Diro: Spietato
10. Recitativo: Eduige, T'Inganni
11. No.5 Aria: Di Cupido Impiego I Vanni
12. No.6 Sinfonia Ed Accompagnato: Pompe Vane Di Morte
13. No.7 Aria: Dove Sei, Amato Bene?
14. Recitativo: Ma Giunge Unulfo, Oh Dio!
15. No.8 Aria Ombre, Piante, Urne Funeste
16. No.9 Accompagnato E Recitativo: Ombra Del Mio Bel Sol/Deh, Lascia!/No, Signor
17. Recitativo: Baci Inutili E Vani
18. No.10 Aria: Morrai, Si; L'Empia Tua Testa
19. Recitativo: E Ben, Duca, Poss'Io All'Ardor
20. No.11 Aria: Se Per Te Giungo A Godere
21. Recitativo: Unulfo, Oh Dio! Quella E Costanza?
22. No.12 Aria: Sono I Colpi Della Sorte (Second Version)
23. No.13 Accompagnato: Si, L'Infida Consorte
24. No.14 Aria: Confusa Si Miri
CD 2
01. Recitativo: Gia Perdesti, O Signora
02. No.15 Aria: De'Mieei Scherni Per Far Le Vendette
03. Recitativo: Rodelinda, E Pur Ver?
04. No.16 Aria: Spietati, Io Vi Giurai
05. Recitativo: Unulfo, Garibaldo, In Questo Seno
06. No.17 Aria: Prigioniera Ho L'Alma In Pena
07. Recitativo: Massime Cosi Indegne
08. No.18 Aria: Tirannia Gli Diede Il Regno
09. Recitativo: Si, Si, Fellon, T'Intendo
10. No.19 Aria: Fra Tempeste Funeste
11. No.20 Aria E Recitativo: Con Rauco Mormorio/Dell'Estinto Germano
12. Recitativo: Ah No, Che Non M'Inganna
13. No.21 Aria: Scacciata Dal Suo Nido
14. Recitativo: Vive Il Mio Sposo?
15. No.22 Aria: Ritorna, O Caro E Dolce Mio Tesoro
16. Recitativo: Ah Si! Ecco Lo Sposo!
17. No.23 Aria: Tuo Drudo E Mio Rivale
18. Recitativo: Non Ti Basto, Consorte
19. No.24 Duetto: Io T'Abbraccio
CD 3
01. Recitativo: Del German Nel Periglio
02. No.25 Aria: Un Zeffiro Spiro
03. Recitativo: Con Opra Giusta Io Cancellar Disegno
04. No.26 Aria: Quanto Piu Fiera Tempesta Freme
05. Recitativo: O Falso E Bertarido O Fu Mendace
06. No.27 Aria: Tra Sospetti, Affetti E Timori
07. No.28 Arioso: Chi Di Voi Fu Piu Infedele
08. No.29 Accompagnato E Recitaticvo: Ma Non So Che Dal Remoto Balcon/Bertarido? Mio Re...
09. No.30 Aria: Se 'L Mio Duol Non E Si Forte
10. Recitativo: Amico, Ah! Che A Me Duole
11. No.31 Aria: Se Fiera Belva Ha Cinto
12. No.32 Accompagnato: Fatto Inferno E Il Mio Petto
13. No.33 Aria: Pastorello D'Un Povero Armento
14. Recitativo: Che Miro? Amica Sorte
15. Aria: Vivi, Tiranno
16. (Recitativo): Dunque Sei Bertarido?
17. No.34 Aria: Mio Caro Bene
18. Recitativo: Sposa, Figlio, Sorella, Amici
19. Duetto: D'Ogni Crudel Martir
20. Coro: Dopo La Notte Oscura
21. Aria: Sono I Colpi Della Sorte (1st Version)
Performers:
Simone Kermes (Rodelinda)
Marijana Mijanovic (Bertarido)
Sonia Prina (Eduige)
Marie-Nicole Lemieux (Unolfo)
Steve Davislim (Grimoaldo)
Vito Priante (Garibaldo)
Il Complesso Barocco
Alan Curtis
Alan Curtis has done more than most to prove that many of Handel's 42 operas are first-rate music dramas – his Admeto, from 1979 (see page 465), was one of the first complete recordings of a Handel opera to feature period instruments and all voices at correct pitch without transpositions – but it is surprising to note that this is his first recording of an undisputed popular masterpiece.
Rodelinda, first performed in February 1725, is a stunning work dominated by a title-heroine who remains devoted to her supposedly dead husband Bertarido and scorns the advances of his usurper Grimoaldo. The potency of Handel's score was enhanced by the complexity of the villain, whose lust-driven cruelty gradually crumbles into a desire to abdicate in order to find spiritual peace. The scene in which the penitent tyrant's life is saved from assassination by the fugitive Bertarido is among Handel's greatest dramatic moments. Simone Kermes is full of feisty courage, an assertive woman for whom Bertarido would credibly risk death to be reunited with. She takes no prisoners in some extravagant cadenzas, and sings 'Morrai, si' with thrillingly viscous venom. At the other extreme, 'Ritorna o cara' is simply gorgeous. There are some weaknesses. Marijana Mijanovic's Bertarido often slips under pitch on long notes and uses indiscriminate vibrato instead of singing through phrases. Her deficiencies with tuning and idiomatic expression are highlighted in two duets with Kermes (one not recorded before), particularly when Handel demands that they sing sustained notes in unison. There is a good case for using a fruity female contralto in castrato roles instead of an angelic countertenor but why Archiv seems keen to record Mijanovic's inadequate performances of Handel roles for his star castrato, Senesino is incomprehensible. A cursory comparison of Mijanovic's bizarrely unattractive 'Dove sei' with any of the impressive contributions from fellow contraltos Marie-Nicole Lemieux or Sonia Prina indicates that either would have better suited the role. Otherwise, this has an abundance of good things. Il Complesso Barocco have sounded undernourished on some previous recordings but here play with admirable vitality and dramatic subtlety. Curtis has obviously worked hard to encourage his string players to understand what the singers are communicating: each aria is impeccably interpreted and intelligently paced. On the whole, Curtis's passion and experience ensure another typically persuasive and theatrical vindication of Handel's genius. -- Gramophone Classical Music Guide
Rodelinda, first performed in February 1725, is a stunning work dominated by a title-heroine who remains devoted to her supposedly dead husband Bertarido and scorns the advances of his usurper Grimoaldo. The potency of Handel's score was enhanced by the complexity of the villain, whose lust-driven cruelty gradually crumbles into a desire to abdicate in order to find spiritual peace. The scene in which the penitent tyrant's life is saved from assassination by the fugitive Bertarido is among Handel's greatest dramatic moments. Simone Kermes is full of feisty courage, an assertive woman for whom Bertarido would credibly risk death to be reunited with. She takes no prisoners in some extravagant cadenzas, and sings 'Morrai, si' with thrillingly viscous venom. At the other extreme, 'Ritorna o cara' is simply gorgeous. There are some weaknesses. Marijana Mijanovic's Bertarido often slips under pitch on long notes and uses indiscriminate vibrato instead of singing through phrases. Her deficiencies with tuning and idiomatic expression are highlighted in two duets with Kermes (one not recorded before), particularly when Handel demands that they sing sustained notes in unison. There is a good case for using a fruity female contralto in castrato roles instead of an angelic countertenor but why Archiv seems keen to record Mijanovic's inadequate performances of Handel roles for his star castrato, Senesino is incomprehensible. A cursory comparison of Mijanovic's bizarrely unattractive 'Dove sei' with any of the impressive contributions from fellow contraltos Marie-Nicole Lemieux or Sonia Prina indicates that either would have better suited the role. Otherwise, this has an abundance of good things. Il Complesso Barocco have sounded undernourished on some previous recordings but here play with admirable vitality and dramatic subtlety. Curtis has obviously worked hard to encourage his string players to understand what the singers are communicating: each aria is impeccably interpreted and intelligently paced. On the whole, Curtis's passion and experience ensure another typically persuasive and theatrical vindication of Handel's genius. -- Gramophone Classical Music Guide
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