Diego Fasolis - Handel: Rodelinda (2016)

  • 14 Jan, 11:37
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Artist:
Title: Handel: Rodelinda - Regina de Longobardi
Year Of Release: 2016
Label: Dynamic
Genre: Classical
Quality: FLAC (image + .cue, log, scans)
Total Time: 2:36:41
Total Size: 721 MB
WebSite:

Tracklist:

DISC 1:
1. Overture
2. Act I Scene 1: Ho Perduto Il Caro Sposo
3. Act I Scene 1: Recitative: Regina!
4. Act I Scene 1: Aria: L'empio Rigor Del Fato
5. Act I Scene 2 - 3: Recitative: Duca, Vedesti Mai Più Bel Disprezzo
6. Act I Scene 2 - 3: Aria: Io Gia T'amai, Ritrosa
7. Act I Scene 4: Recitative: E Tu Dice D'amarmi
8. Act I Scene 4: Aria: Lo Faro, Diro Spietato
9. Act I Scene 5: Recitative: Eduige, T'inganni
10. Act I Scene 5: Aria: Di Cupido Impiego I Vanni
11. Act I Scene 6: Sinfonia E Recitativo: Pompe Vanne Di Morte!
12. Act I Scene 6: Aria: Dove Sei, Amato Bene!
13. Act I Scene 6: Recitative: Ma Giunge Unulfo
14. Act I Scene 7: Ombre, Piante, Urne Funeste!
15. Act I Scene 8: Recitative: Baci Inutili E Vanni
16. Act I Scene 8: Aria: Morrai, Si, L'empia Tua Testa
17. Act I Scene 8: E Ben, Duca, Poss'io All'ardor
18. Act I Scene 8: Se Per Te Giungo a Godere
19. Act I Scene 9: Recitative: Unulfo, Oh Dio!
20. Act I Scene 10: Sono I Colpi Della Sorte
21. Act I Scene 10: Recitative: Si, L'infida Consorte
22. Act I Scene 10: Aria: Confusa Si Miri L'infida Consorte
23. Act II Scene 3: Recitative: Rodelinda, E Pur Ver
24. Act II Scene 3: Aria: Spietati, Io VI Giurai
25. Act II Scene 4: Non Ti Stupir D'una Vaga Apparenza
26. Act II Scene 4: Aria: Prigioniera Ho L'alma in Pena
27. Act II Scene 4: Recitative: Massime Cosi Indegne
28. Act II Scene 4: Aria: Tirannia Gli Diede Il Regno

DISC 2:
1. Act II Scene 4: Recitative: Si, Si, Fellon, T'intendo E Non M'inganno
2. Act II Scene 4: Aria: Fra Tempeste Funeste E Quest'alma
3. Act II Scene 5: Aria: Con Rauco Mormorio
4. Act II Scene 5: Dell'estinto Germano
5. Act II Scene 1 - 2: Aria: De' Miei Scherni Per Far Le Vendette
6. Act II Scene 6: Recitative: Vive Il Mio Sposo
7. Act II Scene 7: Aria: Tuo Drudo E Mio Rivale
8. Act II Scene 7: Io T'abbraccio
9. Act III Scene 1: L'ostinato Furor Di Grimoaldo
10. Act III Scene 1: Aria: Un Zeffiro Spiro
11. Act III Scene 1: Recitative: Con Opra Giusta
12. Act III Scene 1: Aria: Quanto Più Fiera Tempesta Freme
13. Act III Scene 2: Agitato E Il Cor Mio
14. Act III Scene 2: Aria: Tra Sospetti, Affetti, Et Timori
15. Act III Scene 3: Aria: Chi Di Voi Fu Più Infedele
16. Act III Scene 3: Recitative: Ma Non So Che Dal Remoto Balcon
17. Act III Scene 4: Recitative: Non Temere, Signore! Germano!
18. Act III Scene 4: Aria: Se'l Mio Duol Non E Si Forte
19. Act III Scene 4: Mio Re
20. Act III Scene 4: Se Fiera Belva Ha Cinto
21. Act III Scene 5: Recitative: Fatto Inferno E Il Mio Petto
22. Act III Scene 5: Aria: Pastorello D'un Povero Armento
23. Act III Scenes 6 - 7: Recitative: Che Miro
24. Act III Scenes 6 - 7: Aria: Vivi, Tiranno!
25. Act III Scene 8: Ma Chi Dalle Ritorte
26. Act III Scene 8: Aria: Mio Caro Bene!
27. Act III Scene 8: Recitative: Sposa, Figlio, Sorella, Amici, Oh Dio!
28. Act III Scene 8: Doppo la Notte Oscura

Performers:

Sonia Ganassi (Rodelinda)
Franco Fagioli (Bertarido)
Paolo Fanale (Grimoaldo)
Gezim Myshketa (Garibaldo)
Marina De Liso (Eduige)
Antonio Giovannini (Unulfo)

Piero Barbareschi (harpsichord)
Massimo Tannoia (cello)
Giuseppe Petrella (theorbo)

Orchestra Internazionale d’Italia
Diego Fasolis

As with the majority of Handel’s stage works, Rodelinda is composed in a purely Italian style. The libretto was adapted by Nicola Haym from a previous version by Antonio Salvi. In line with the norms for Italian opera, it consists of solo da capo arias interspersed with secco recitatives and, occasionally, with accompanied ones.

The undoubted protagonist of the opera is Rodelinda, for whom the composer wrote eight of the original score’s thirty-two numbers, as well as the duet with Bertarido. Rodelinda’s characterisation is a masterpiece of psychological and musical insight, beginning with the entrance aria, Ho perduto il caro sposo. This is a doleful piece, rich in expressive chromaticism and almost completely devoid of coloratura passages, in which the Lombard queen appears prey to the deepest dejection.

No less brilliant and persuasive is the musical characterisation of the exiled king Bertarido, whose courage is, unusually, extolled more in recitatives than in arias. Bertarido is entrusted with the beautiful accompanied recitative in Act One, Pompe vane di morte, one the finest and most moving passages of the entire opera, which introduces the melancholy aria Dove sei, amato bene.

The other characters also make significant contributions to the interest and value of this production.

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