Concerto Koln, Nicholas McGegan - Handel: Rinaldo (2004)
Artist: Concerto Koln, Nicholas McGegan
Title: Handel: Rinaldo
Year Of Release: 2004
Label: Göttingen Handel Gesellschaft
Genre: Classical, Opera
Quality: FLAC (image+.cue,log,scans)
Total Time: 02:47:13
Total Size: 888 Mb
WebSite: Album Preview
Tracklist: Title: Handel: Rinaldo
Year Of Release: 2004
Label: Göttingen Handel Gesellschaft
Genre: Classical, Opera
Quality: FLAC (image+.cue,log,scans)
Total Time: 02:47:13
Total Size: 888 Mb
WebSite: Album Preview
CD1
Rinaldo: Opera Seria In Tre Atti, HWV 7a
1-1 Ouverture 5:39
Atto Primo
Scena 1
1-2 Recitativo: Delle Nostre Fatiche Siam Prossimi Alla Meta (Goffredo) 0:32
1-3 Aria: Sovra Balze Scoscese E Pungenti (Goffredo) 4:19
1-4 Recitativo: Signor, Già Dal Tuo Senno (Rinaldo, Goffredo, Almirena) 1:43
1-5 Aria: Combatti Da Forte (Almirena) 3:17
1-6 Recitativo: Questi Saggi Consigli Accogli Nel Tuo Sen (Eustazio, Rinaldo) 0:14
1-7 Aria: Ogn'Indugio D'Un Amante È Una Pena (Rinaldo) 3:37
Scena 2
1-8 Recitativo: Signor, Che Delle Stelle Emuli I Pregi (Araldo, Goffredo, Eustazio) 0:37
1-9 Aria: Sulla Ruota di Fortuna Va Girando La Speranza (Eustazio) 3:21
Scena 3
1-10 Aria: Sibilar Gli Angui D'Aletto (Argante) 4:27
1-11 Recitativo: Goffredo; Se T'Arrise Sin Qui Fortuna (Argante, Goffredo) 1:00
1-12 Aria: No, No, Che Quest'Alma Scontenti Non Dà (Goffredo) 2:19
Scena 4
1-13 Recitativo: Infra Dubbi Di Marte Resta Sospeso Il Cuore (Argante) 0:29
1-14 Aria: Vieni, O Cara, A Consolarmi (Argante) 3:47
Scena 5
1-15 Aria: Furie Terribili (Armida) 1:51
1-16 Recitativo Ed Accompagnato: Come A Tempo Giungesti, Cara (Argante, Armida) 1:29
1-17 Aria: Molto Voglio, Molto Spero (Armida) 2:44
Scena 6
1-18 Aria: Augellette, Che Cantate (Almirena) 5:34
1-19 Recitativo: Adorato Mio Sposo, Vieni A Bear Quest'Alma (Almirena, Rinaldo) 1:12
1-20 Duetto: Scherzano Sul Tuo Volto Le Grazie Vezzosette (Almirena, Rinaldo) 2:33
Scena 7
1-21 Recitativo: Al Valor Del Mio Brando Cedi La Nobil Preda (Armida, Almirena, Rinaldo) 0:21
1-22 Prelude 1:02
1-23 Aria: Cara Sposa, Amante Cara, Dove Sei? (Rinaldo) 10:24
Scena 8
1-24 Recitativo: Ch'Insolito Stupore Lega Gli Sensi Tuoi (Goffredo, Eustazio, Rinaldo) 1:16
1-25 Aria: Cor Ingrato, Ti Rammembri, E Non Scoppii Di Dolor? (Rinaldo) 3:21
1-26 Recitativo: Io All'Ora Impugno Il Brando (Rinaldo, Goffredo, Eustazio 1:10
1-27 Aria: Col Valor, Colla Virtù Or Si Vada A Trionfar (Eustazio) 3:34
Scena 9
1-28 Recitativo: Di Speranza Un Bel Raggio Ritorni (Rinaldo) 0:25
1-29 Aria: Venti, Turbini, Prestate Le Vostre Ali A Questo Piè (Rinaldo) 3:40
CD2
Atto Secondo
Scena 1
2-1 Aria: Siam Prossimi Al Porto (Eustazio) 4:38
Scena 2
2-2 Recitativo: A Quel Sasso Bramato (Rinaldo, Goffredo, Eustazio) 0:33
Scena 3
2-3 Recitativo: Per Raccor D'Almirena I Più Dolci Respiri (Donna) 0:45
2-4 Aria: Il Vostro Maggio De' Bei Verdi Anni (Sirene) 2:24
2-5 Recitativo: Qual Incognita Forza Mi Spinge (Rinaldo, Goffredo, Eustazio, Donna) 1:04
2-6 Aria: Il Tricerbero Umiliato (Rinaldo) 1:55
2-7 Recitativo: Signor, Strano Ardimento! (Eustazio) 0:13
2-8 Aria: Scorta Rea Di Cieco Amore (Eustazio) 3:59
2-9 Recitativo: Ciò Fu Indegna Vittoria Del Barbaro Acheronte (Goffredo) 0:24
2-10 Aria: Mio Cor, Che Mi Sai Dir? (Goffredo) 2:58
Scena 4
2-11 Recitativo: Armida Dispietata! (Almirena, Argante) 2:11
2-12 Aria: Lascia Ch'Io Pianga Mia Cruda Sorte (Almirena) 4:46
2-13 Recitativo: Ah! Sul Bel Labbro Amore Di Possente Magia Formò Le Note (Argante) 0:26
2-14 Aria: Basta Che Sol Tu Chieda (Argante) 2:17
Scena 5
2-15 Recitativo: Cingetemi D'Allori Le Trionfali Chiome (Armida) 0:26
Scena 6
2-16 Recitativo: Perfida, Un Cor Illustre Ha Ben Forza Bastante (Rinaldo, Armida) 2:33
2-17 Duetto: Fermati - No, Crudel (Armida, Rinaldo) 1:43
Scena 7
2-18 Recitativo: Crudel, Tu Ch'Involasti Al Mio Core La Calma (Armida, Rinaldo) 1:26
2-19 Aria: Abbrucio, Avvampo E Fremo (Rinaldo) 2:22
Scena 8
2-20 Recitativo Accompagnato: Dunque I Lacci D'Un Volto (Armida) 1:41
2-21 Aria: Ah! Crudel, Il Pianto Mio, Deh! Ti Mova (Armida) 5:49
Scena 9
2-22 Recitativo: Riprendiam D'Almirena Il Mentito Sembiante (Armida) 0:14
Scena 10
2-23 Recitativo: Adorata Almirena, Ogni Breve Dimora (Argante, Armida) 1:31
2-24 Aria: Vo' Far Guerra, E Vincer Voglio (Armida) 5:20
CD3
Atto Terzo
Scena 1
3-1 Recitativo: Quivi Par Che Rubelle La Terra S'Alzi (Eustazio, Goffredo) 0:47
Scena 2
3-2 Recitativo: La Causa Che Vi Spinge In Sì Remonta Parte (Mago, Goffredo, Eustazio) 0:51
3-3 Sinfonia 2:39
3-4 Recitativo: Qui Vomita Cocito Tutta Sua Nera Peste (Goffredo, Eustazio, Mago) 0:44
3-5 Aria E Recitativo: Andate, O Forti, Fra Stragi E Morti (Mago) 2:53
Scena 3
3-6 Recitativo: Mori Svenata - O Numi! (Armida, Almirena, Rinaldo) 0:52
Scena 4
3-7 Recitativo: Nella Guardata Soglia Come Osaste Portar Sicurio Il Piede? (Armida, Goffredo, Rinaldo, Eustazio, Almirena) 1:29
3-8 Aria: Sorge Nel Petto Certo Diletto (Goffredo) 4:20
3-9 Recitativo: Al Trionfo S'Affretti Senza Ritardo Il Corso! (Rinaldo) 0:12
3-10 Aria: E' Un Incendio Fra Due Venti (Rinaldo) 4:06
Scena 5
3-11 Recitativo: Chiuso Fra Quelle Mura Langue Il Comun Valore (Argante) 0:26
Scena 6
3-12 Recitativo: Per Formentar Lo Sdegno A Fronte D'Un Sleal Anco Mi Trovo? (Armida, Argante) 1:45
3-13 March 0:56
3-14 Recitativo: In Quel Bosco Di Strali (Argante, Armida) 0:16
3-15 Duetto: Al Trionfo Del Nostro Furore Or Corriamo (Argante, Armida) 3:27
Scena 7
3-16 Recitativo: Di Quei Strani Accidenti Se La Serie Ripiglio (Goffredo, Almirena, Rinaldo) 0:36
3-17 Aria: Bel Piacere È Godere Fido Amor (Almirena) 1:56
Scena 8
3-18 Recitativo: Signor, L'Oste Nemica Con Barbari Ululati S'Avvincina (Eustazio, Goffredo, Rinaldo, Almirena) 1:04
3-19 Aria: Di Sion Nell'Alta Sede (Eustazio) 3:06
Scena 9
3-20 March 0:51
3-21 Recitativo: Se Ciò T'È In Grado, O Prence (Rinaldo, Goffredo) 0:34
3-22 Aria: Or la Tromba In Suon Festante Mi Richiama A Trionfar (Rinaldo) 3:35
Scena 10
3-23 Recitativo: Miei Fidi, Ecco Là In Campo Colmo di Mille Furti (Argante) 0:32
Scena 11
3-24 Recitativo: Magnanimi Campioni, Ecco L'Ultimo Giorno Delle Vostre Fatiche (Goffredo) 0:39
3-25 Aria: Solo Dal Brando, Dal Senno Solo Della Vittoria (Goffredo) 1:49
3-26 Battaglia 1:30
Scena 12
3-27 Recitativo: Goffredo, Ecco Il Superbo In Lacci Avolto (Rinaldo, Argante, Goffredo) 0:24
Scena 13
3-28 Recitativo: Ecco, German, La Cruda (Eustazio, Argante, Armida, Rinaldo, Almirena, Goffredo) 1:28
3-29 Coro: Vinto È Sol Dalla Virtù Degli Affetti Il Rio Livor (Armida, Almirena, Rinaldo, Eustazio, Argante, Goffredo) 1:22
Performers:
Rinaldo: Diana Moore, soprano
Armida: Dominique Labelle, soprano
Almirena: Cyndia Sieden, soprano
Goffredo: Cécile van de Sant, mezzo-soprano
Eustazio: Christophe Dumaux, countertenor
Argante: Andrew Foster-Williams, bass
Mago cristiano & Herald: Jean-Sébastien Stengel, countertenor
Sirens: Irmela Brünger, Theresa Nelles, soprano
Concerto Köln (on period instruments)
Conductor: Nicholas McGegan
It is hard to remember that only five years ago there was no adequate CD recording of Rinaldo. This colourful live recording was made at the Göttingen Handel Festival in May 2004; however, each of the three recent recordings has faults. Christopher Hogwood’s tempi are always precise and judicious, but his recitative lacks drama, and the studio performance wears only a thin veil over its short concert tour origins, possessing no theatrical atmosphere at all. René Jacobs’ performance brims with the theatre, but his tempi are often willfully poor (“Or la tromba” is woefully miscalculated), instrumental phrasing is often sacrificed for the sake of contrived effects, a few shabby gimmicks from the staged production hung-over into the recording sessions, and Jacobs’ booklet essay is a disgraceful sham of the spirit of authenticity: organ continuo because Rinaldo is a Christian opera? Dreadful elongated cadences featuring unconvincing cello solos because Haym was too intelligent to have been content playing only two notes? Harp because Handel used it in Esther and Saul, both English oratorios composed years later? Jacobs’ attempt to pass this ridiculous codswallop off as credible musicology is not redeemed by his inconsistent artistic results, stimulating and frustrating in equal measure.
Nicholas McGegan is a reliable Handelian like Christopher Hogwood, but theatrical and expressive enough to match anybody. Better still, McGegan is infinitely more natural than Jacobs’ - although this performance features castanets and intrusive la-la-ing from the sirens similar to Jacobs’ tinkering at its worst. This seems out of character for the normally dependable McGegan, but perhaps it owes something to the erratic unsympathetic staging by director Igor Folwill (maybe Folwill used Jacobs’ recording to research his concept). The biggest problem with this new version is Folwill’s cuts to recitative and dramatic action, especially in Act III, and notably every time Armida is supposed to do something actively evil.
Folwill’s staging seriously damaged Rinaldo, so it is curious that the live recording is persuasive. The recorded sound is excellent, Concerto Köln’s playing is exciting, and McGegan delivers the music with his usual sense of humour, alert dramatic pacing, and infectious springy rhythms. The only blemishes are footsteps on the Stadthalle’s makeshift stage (including a frantic burst of comic activity during all the harpsichord solos in “Vo far Guerra”), frequent audience applause, and the occasional distant contribution from singers with their backs to the microphone.
Hogwood has the best cast, while Jacobs persuades his comparably talented group to get more involved with the plot. The Göttingen cast is less even. Cyndia Sieden is weak as Almirena, although her ‘Lascia ch’io pianga’ is less contrived than Cecilia Bartoli’s over-egged pudding (Hogwood). Diana Moore has an attractive real contralto voice, and, although her characterization seems to need a few years to grow in dramatic stature, she was not helped by Folwill’s terrible production. Moore delivers Rinaldo’s big moments (“Cara sposa”, “Venti turbini”, “Or la tromba”) with attractive musical panache, and I am sure she will be a Handel performer of notable distinction.
The temperature rises whenever the plot turns its attention to Andrew Foster-Williams and Dominique Labelle. Of course, one could argue this is because the pagan duo’s evil shenanigans are a lot more fun than the virtuous characters, but McGegan’s performance always becomes more thrilling when Armida and Argante are the centre of the action. Labelle’s Armida is tempestuous, sexy, and explosive: her “Ah! crudel” is one of the most moving interpretations I have heard, and one can sense her enjoyment of “Vo far Guerra”. Foster-Williams makes a spectacular entry amidst a flurry of powerful coloratura and blazing military trumpets (no studio editing or engineer’s gloss here – the coloratura is 100% genuine and utterly amazing), but he also excels in the lyrical “Vieni, o cara”.
This is not the most consistent Rinaldo available on CD, and Hogwood is still the safest version. Nevertheless, I will certainly listen to McGegan’s performance more often because it takes more risks than Hogwood, and is an intelligent and stylistically plausible alternative to the hit-and-miss maverick Jacobs. There are moments in this live performance that make me wish that McGegan and a slightly better balanced cast had devoted their talents to a complete studio recording. Then again, perhaps it is the elusive sense of spontaneity and musical wit that makes McGegan’s interpretation of Rinaldo more entertaining than any other on disc.
Nicholas McGegan is a reliable Handelian like Christopher Hogwood, but theatrical and expressive enough to match anybody. Better still, McGegan is infinitely more natural than Jacobs’ - although this performance features castanets and intrusive la-la-ing from the sirens similar to Jacobs’ tinkering at its worst. This seems out of character for the normally dependable McGegan, but perhaps it owes something to the erratic unsympathetic staging by director Igor Folwill (maybe Folwill used Jacobs’ recording to research his concept). The biggest problem with this new version is Folwill’s cuts to recitative and dramatic action, especially in Act III, and notably every time Armida is supposed to do something actively evil.
Folwill’s staging seriously damaged Rinaldo, so it is curious that the live recording is persuasive. The recorded sound is excellent, Concerto Köln’s playing is exciting, and McGegan delivers the music with his usual sense of humour, alert dramatic pacing, and infectious springy rhythms. The only blemishes are footsteps on the Stadthalle’s makeshift stage (including a frantic burst of comic activity during all the harpsichord solos in “Vo far Guerra”), frequent audience applause, and the occasional distant contribution from singers with their backs to the microphone.
Hogwood has the best cast, while Jacobs persuades his comparably talented group to get more involved with the plot. The Göttingen cast is less even. Cyndia Sieden is weak as Almirena, although her ‘Lascia ch’io pianga’ is less contrived than Cecilia Bartoli’s over-egged pudding (Hogwood). Diana Moore has an attractive real contralto voice, and, although her characterization seems to need a few years to grow in dramatic stature, she was not helped by Folwill’s terrible production. Moore delivers Rinaldo’s big moments (“Cara sposa”, “Venti turbini”, “Or la tromba”) with attractive musical panache, and I am sure she will be a Handel performer of notable distinction.
The temperature rises whenever the plot turns its attention to Andrew Foster-Williams and Dominique Labelle. Of course, one could argue this is because the pagan duo’s evil shenanigans are a lot more fun than the virtuous characters, but McGegan’s performance always becomes more thrilling when Armida and Argante are the centre of the action. Labelle’s Armida is tempestuous, sexy, and explosive: her “Ah! crudel” is one of the most moving interpretations I have heard, and one can sense her enjoyment of “Vo far Guerra”. Foster-Williams makes a spectacular entry amidst a flurry of powerful coloratura and blazing military trumpets (no studio editing or engineer’s gloss here – the coloratura is 100% genuine and utterly amazing), but he also excels in the lyrical “Vieni, o cara”.
This is not the most consistent Rinaldo available on CD, and Hogwood is still the safest version. Nevertheless, I will certainly listen to McGegan’s performance more often because it takes more risks than Hogwood, and is an intelligent and stylistically plausible alternative to the hit-and-miss maverick Jacobs. There are moments in this live performance that make me wish that McGegan and a slightly better balanced cast had devoted their talents to a complete studio recording. Then again, perhaps it is the elusive sense of spontaneity and musical wit that makes McGegan’s interpretation of Rinaldo more entertaining than any other on disc.
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