Karina Gauvin - Conradi: Ariadne (2005)
Artist: Karina Gauvin
Title: Conradi: Ariadne
Year Of Release: 2005
Label: CPO
Genre: Classical
Quality: FLAC (tracks)
Total Time: 175:01 min
Total Size: 849 MB
WebSite: Album Preview
Tracklist:Title: Conradi: Ariadne
Year Of Release: 2005
Label: CPO
Genre: Classical
Quality: FLAC (tracks)
Total Time: 175:01 min
Total Size: 849 MB
WebSite: Album Preview
CD1:
01. Ariadne: Overture
02. Ariadne, Act I: Grimmes Glück! Nach allen Plagen
03. Ariadne, Act I: Wie so allein:
04. Ariadne, Act I: Liebe muß verständlich sein
05. Ariadne, Act I: So bald der nächste Tag anbricht
06. Ariadne, Act I: Bleibt noch der Schluß auff Morgen fest gestellt:
07. Ariadne, Act I: Wann sehnlicheres Wünschen die Sinnen vergnügt
08. Ariadne, Act I: Thu liebste Phædra, meinen Willen
09. Ariadne, Act I: O freudiger Tag
10. Ariadne, Act I: Ich acht es nichts
11. Ariadne, Act I: Was meinen Geist macht trübe
12. Ariadne, Act I: Die Liebe allein mit Geister
13. Ariadne, Act I: Soll deine Treu mir ewig sich verbinden:
14. Ariadne, Act I: Ersticket, erdrücket, ihr Seufftzer mein Herze
15. Ariadne, Act I: Hoffnung, Hoffnung sei willkommen
16. Ariadne, Act I: Empfindstu nicht, O Printzl schon solch Vergnügen
17. Ariadne, Act I: Wie leicht ist es den Kranken Raht zu geben
18. Ariadne, Act I: Wann auf Lieben folgt Genießen
19. Ariadne, Act I: Scheren und Messer und Pfriem zu schleifen
20. Ariadne, Act I: Was kann der edlen Schleiffer-Kunst
21. Ariadne, Act I: Ho, ho! Holla he! Kommt keiner nicht
22. Ariadne, Act I: Messer und Scheren zu schleifen
CD2:
01. Ariadne, Act II: Auff, auff erbostes Glücke
02. Ariadne, Act II: Schönster Augen Sonnenschein
03. Ariadne, Act II: So laß dich, Schönste, noch einmal vor meinem Tod umfassen
04. Ariadne, Act II: Nimm, schönster Engel, Herz und Mund
05. Ariadne, Act II: Verwegensterl
06. Ariadne, Act II: Die Freude wird nur schlechten Stand
07. Ariadne, Act II: Glückseliger Tag an dem ich soll verblassen
08. Ariadne, Act II: Wie kann Harz dergleichen Flammen schauen
09. Ariadne, Act II: Eilt, ach eilet zu meinem Vergnügen
10. Ariadne, Act II: Er lasse doch dergleichen Fratzen
11. Ariadne, Act II: Weil die Mädchen dieser Zeit
12. Ariadne, Act II: Pamphilius! Wer hat dich das gelehrt:
13. Ariadne, Act II: Es sollen Zeugen seyn die güldnen Sternen
14. Ariadne, Act II: Wilt du mich beständig lieben
15. Ariadne, Act II: Das heißt sich durch die Welt gebracht
16. Ariadne, Act II: Aber denkt, ihr guten Leute
17. Ariadne, Act II: Chaconne
18. Ariadne, Act II: Alles ist nur Eitelkeit
19. Ariadne, Act II: Ich will und muß mit Theseus gehn
20. Ariadne, Act II: Schönstes Seelchen, fahre wohl
21. Ariadne, Act II: Ihr Augen die der Himmel zieret
22. Ariadne, Act II: Sie spare doch, Vortrefflichstel das Klagen
23. Ariadne, Act II: Doch ich will in Hoffnung bleiben
24. Ariadne, Act II:Ich bitt euch doch noch hunderttausend mal
25. Ariadne, Act II: Gute Nacht Ihr Anverwandten
26. Ariadne, Act II: Geneigte Liebe beglücke die Lust
CD3:
01. Ariadne, Act III: Prelude
02. Ariadne, Act III: Mein Wünschen ist erfüllt
03. Ariadne, Act III: Ihr Sternen, steht still
04. Ariadne, Act III: Weil durch des Minotaurus Hals
05. Ariadne, Act III: Nun Edle, Rache sol dein Gift
06. Ariadne, Act III: Hat Theseus gleich unendlich mich verbunden
07. Ariadne, Act III: Süsser Saft der edlen Reben
08. Ariadne, Act III: Wegl alles Lob des Nektars süsser Reben
09. Ariadne, Act III: Wer sich vor Amor find zu schwach
10. Ariadne, Act III: Air
11. Ariadne, Act III: Bisher ist unsere Flucht gelungen
12. Ariadne, Act III: Brich an, brich an gewünschte Nacht
13. Ariadne, Act III: Sie schläft, auff auff mein Schatz wir müssen fliehen
14. Ariadne, Act III: Oh Weh! Ach rette mich!
15. Ariadne, Act III: Ihr Furien, auf, auf!
16. Ariadne, Act III: Wie aber! Ist er meines Zorns auch wert:
17. Ariadne, Act III: Hat, Verhänguss, meine Pein, irgend ihresgleichen:
18. Ariadne, Act III: Marche
19. Ariadne, Act III: Wie so betrübt, mein allerschönstes Kind:
20. Ariadne, Act III: Erinnere dich, mein Licht, dass mir allein gebührt
21. Ariadne, Act III: Liebliche Flammen, fügt zusammen Seelen
22. Ariadne, Act III: Edles Paar, dem nichts zu gleichen
23. Ariadne, Act III: Es zeigt sich des gantzen Himmels Raht
This CPO issue of Johann Georg Conradi's 1691 opera Ariadne is based out of a revival of this obscure work produced in 2003 as part of the Boston Early Music Festival. One might be surprised to see the name of Conradi above the title of such a large opera set -- has anybody really heard of this guy? What is up with this opera?
German Baroque opera has spent centuries in the shadows. At one time this entire historical genre was considered of only marginal value when held up to the shining example of George Frideric Handel. Closer examination of the topic reveals that this was one man's opinion, namely that of nineteenth century musicologist Friedrich Chrysander. Nevertheless, such opinions can travel a long way, especially when it comes to musical works that come from an obsolete milieu, the nature of which relatively few would take the time to understand. Ariadne was a very popular opera in the days before Handel, well regarded enough that it was revised and revived two decades after its composer died. Then it disappeared again until 1970, when the score was rediscovered and the performance was captured on the CPO set led by lutenists Stephen Stubbs and Paul O'Dette, the first given since 1722. From the scant color images included in the booklet, this Boston Early Music Festival performance looks like it was a sumptuous one.
However, the music is the main thing that impresses one about Ariadne; no Baroque opera can be this good. Nevertheless, it is; Conradi's music is achingly beautiful and the libretto a concise and emotionally satisfying rendering of the familiar plot. The band is just of the right proportions and plays exquisitely well, with the music paced for maximum effect. While the star of the show, soprano Karina Gauvin, is excellent, everyone in the cast does a great job of portraying these roles in characterizations that help keep this long opera moving, and therefore, interesting. The book is in three languages and includes the complete text of the opera.
Sometimes one is compelled to take the good with the bad in order to get to know an oddball and completely unfamiliar work such as Ariadne. With CPO's set, there is literally nothing to complain about -- it's first tier all the way, and should be essential listening for anyone who is interested in Baroque opera.
German Baroque opera has spent centuries in the shadows. At one time this entire historical genre was considered of only marginal value when held up to the shining example of George Frideric Handel. Closer examination of the topic reveals that this was one man's opinion, namely that of nineteenth century musicologist Friedrich Chrysander. Nevertheless, such opinions can travel a long way, especially when it comes to musical works that come from an obsolete milieu, the nature of which relatively few would take the time to understand. Ariadne was a very popular opera in the days before Handel, well regarded enough that it was revised and revived two decades after its composer died. Then it disappeared again until 1970, when the score was rediscovered and the performance was captured on the CPO set led by lutenists Stephen Stubbs and Paul O'Dette, the first given since 1722. From the scant color images included in the booklet, this Boston Early Music Festival performance looks like it was a sumptuous one.
However, the music is the main thing that impresses one about Ariadne; no Baroque opera can be this good. Nevertheless, it is; Conradi's music is achingly beautiful and the libretto a concise and emotionally satisfying rendering of the familiar plot. The band is just of the right proportions and plays exquisitely well, with the music paced for maximum effect. While the star of the show, soprano Karina Gauvin, is excellent, everyone in the cast does a great job of portraying these roles in characterizations that help keep this long opera moving, and therefore, interesting. The book is in three languages and includes the complete text of the opera.
Sometimes one is compelled to take the good with the bad in order to get to know an oddball and completely unfamiliar work such as Ariadne. With CPO's set, there is literally nothing to complain about -- it's first tier all the way, and should be essential listening for anyone who is interested in Baroque opera.
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