Handel: Semele

On this CD:

1. Semele, oratorio, HWV 58
Composed by George Frideric Handel
Performed by Eberhard Buchner, Wolf-Dieter Hauschild, Renate Hoff, Fritz Hubner, Siegfried Lorenz, Gisela Pohl, Hermann-Christian Polster, Berlin Radio Soloists Association, Ingeborg Springer

Editorial Reviews
Amazon.com
Semele in German is a waste of time for English speakers, especially when there are two excellent versions in the proper language, one of which (John Nelson's on DG) is one of the very finest Handel recordings ever made. The only thing that would redeem this provincial effort would be some stunning singing. Fortunately for your pocketbook, there's isn't any. A non- starter. --David Hurwitz

Tracks:

Air Pour Les Trompettes
Trumpet Voluntary
Kanon
Fantasie In C
We Hasten With Eager Footsteps
Fantasia And Fugue In D Minor
My Heart Ever Faithful
Toccata And Fugue In D Minor
Fugue In G Minor ('Little')
Trumpet Voluntary
Contrapunctus
Trumpet Tune And Ayre
Galliard Battaglia
Canzon Aechiopican
Sonata In Three Movements For Trumpets
Where'er You Walk
Hallelujah, Amen
Madrigal

Customer Reviews:

Brandon's Review.......2004-02-09

I am a trumpet player who has studied under the tutalage of Bernie Nero principle trumpet of the Austin Symphony and am also a graduate of the Juilliard School of Music,therefore I feel that I am in a unique position to coment on the quality of this recording. Although the music assembled for the recording is an excellent combination of contrasting styles, the musical prhasing is not played charicteristically correct for that time period of music,and stylistically lacks cohesivness. None the less it is still a very good recording, that is why I give it a four rating.

Consistent excellence.......2002-05-20

The Canadian Brass never disappoints. There are some great arrangements of Baroque classics on this album. It may be hard to imagine an organ piece like Bach's Toccata and Fugue in D Minor played by a brass quartet, but it actually works. Overall, this album is consistent in delivering great music.

You can't go wrong with the Canadian Brass.......1999-12-06

You really can't go wrong with any CD by the Canadian Brass; they're such an outstanding group. Because of this, it can oftentimes be difficult to choose which of their CDs to purchase. However, if you are looking for a Canadian Brass CD focused around the more classical aspect of music, "Go For Boroque!" is an excellent choice. Compared to the other CB baroque CD, I feel this one is the better. It has a lot more tracks, and the songs, in my opinion, are better. It has everything from my personal favorite, "We Hasten with Eager Footsteps," to "Trumpet Voluntary," to "Toccata and Fugue in D Minor," which is more closely associated with "Phantom of the Opera." I highly recommend this recording.

Average customer rating:

clear as a bell
Renee Fleming...somewhat out of her depth
Handel sung with gusto and wit
Very disappointing Handel recital
Brava Renee!!!

Handel
Renee Fleming , Harry Bicket , Orchestra of the Age of Enlightenment , and George Friedrich Handel
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Renee Fleming: By Request

ASIN: B0002SZVV8
Release Date: 2004-09-14

Tracks:

Oh Sleep, Why Dost Thou Leave Me?
Endless Pleasure
Scoglio D'Immota Fronte
Quando Spieghi I Tuoi Tormenti
Ombra Mai Fu
To Fleeting Pleasures Make Your Court
Lascia Ch'io Pianga
Dunque, I Lacci D'un Volto...Ah! Crudel
Let The Bright Seraphim
V'adoro, Pupille
Da Tempeste Il Legno Infranto
Ritorna, Oh Caro E Dolce Mio Tesoro
Sommo Rettor Del Cielo...D'una Torbida Sorgente
Pensieri, Voi Mi Tormentate
Bel Piacere E Godera Fido Amor!
Calm Thou Soul...Convey Me To Some Peaceful Shore

Amazon.com

Those who may have feared that Renée Fleming might approach Handel with a too-Romantic vocal attitude need not have; whether it's the leadership of the sympathetic, historically informed Harry Bicket, the sound of the spare but warm Orchestra of the Age of Enlightenment, plain good sense and musicianship, or any combination of these, here she offers sixteen arias in almost-impeccable Baroque fashion. I doubt whether sopranos of Handel's age had voices as plush as Ms Fleming's but she manages to keep her tone as light and as airy as possible in these selections, never leaning or swooping into an accompanying note in an "un-Baroque" manner, and the result is simply ravishing. The voice, of course, is almost unbelievably beautiful and agile, the technique impeccable, complete with a trill unmatchable in any soprano singing today. From the long-breathed lines of "O sleep why dost thou leave me" from Semele to the fireworks in Cleopatra's "Da tempeste…," with stops along the way at the famous "Ombra mai fu" and a complete rarity from the composer's Lotario, this CD is just breathtaking. Brava Fleming--and bravo Harry Bicket! Oh, yes--bravo Handel! --Robert Levine

Customer Reviews:

clear as a bell.......2007-02-16

Renee Fleming is one of the most talented female vocalists around. She has such a beautiful, crystal clear voice, and she sings every song on this album well. As a singer myself, I definitely look up to her and very much admire the tone, quality, power, and range of her voice. I would definitely reccommend this album to anyone who enjoys classical music or is looking for someone to aspire to.

Renee Fleming...somewhat out of her depth.......2006-10-20

While it's not the most thrilling Renee Fleming album in the catalogue, her interpretations of Handel pieces is quite an accomplished feat, but when compared to her earlier efforts, rings hollow with it's lack of emotion. As other reviewers have noted, Ms Fleming does not sound like she is in complete grasp of the material, and her performance lacks any real depth or dramatic weight.

Perhaps the pieces of Handel aren't completely flattering to her style, or the mood in the recording studio might not have been exactly right...a million things might have happened to dull this album's power. I have listened to this album a couple of times now, and I'll keep it in my collection, but this one is for the die-hard Renee Fleming fans.

[Decca /Universal 475 547-2]

Handel sung with gusto and wit.......2005-12-07

I am utterly in love with Renee Fleming's voice and I am very glad that she returned to her roots in this luminous Handel Recital. While her fioritura is not as excellent as Sutherland's she surpasses the Australian with her sincerity and sense for drama. Not one word is sung without attention, her silken voice sound absolutely radiant here. I also noticed that she is singing more precisely and elegantly here, giving Handel a dignified elegance, yet passion that it hasn't had since Ferrier (Who was an alto but she still reigns supreme). It is definitely a step in the right direction. Brava Miss Fleming!

Very disappointing Handel recital.......2005-10-30

This recital is mostly very bland and boring, with Fleming's Baroque vocal technique lacking in many ways.
The slow, languid arias like the opening "Oh Sleep" are too drawn out, without any character. The fast acrobatic arias show lack of agility, and poorly executed and overdone ornamentation. Fleming's heavy, laboured coloratura seems ill fitted for these selections. "Scoglio d'immota" in particular is very bad. Her leaps "from stone to stone" in this aria are proceeded by something of a bellow before each note. Fleming's rthythmic waywardness is also very evident in many tracks, and her diction is very indistinct. In English tracks she prounounces vowels in such bizarre ways, her singing of "endless laav" made me laugh and her Italian in "Quando spieghi" is just awful.
Fleming's "Ombra Mai Fu" lacks any character, tenderness, not to mention the missing recitativo. Lorraine Hunt's infinitely superior version should not be even compared to this one. And "Lascia ch'io pianga" is just so over the top, it sounds like a crossover track without the beat. Even Angela Gheorghiu's soppy but honest singing of this piece beats Fleming's interpretation.
"Let the Bright Serephim" has very serious tempo and scooping issues; Kiri Te Kanawa's unremarkable but pleasant enough version is better. "V'adoro pupille" is another drawn out, overtly sentimental aria. And in "Da Tempeste" Fleming sings the runs as it was jazz (?) music, it's strange, and the da capo part is so over the top. This aria is a total mess.
I have to admit I have problems listening to this album as a whole, midway through I just could not tolerate it any more. When I finally listened to the rest of this album, I liked it even less. The last track, Peaceful Shore is again so bland and pointless. I was just glad to be at the end of this recital.
As many people pointed out, even the accoustics of this recording are not good. The Orchestra of Enlightment plays just fine, but it makes little difference. With so many wonderful recent Handel recitals to choose from (Hunt, Bayrakdarian, Conolly, classics like Kirkby, Battle's Baroque Duets...) I think this is the one to skip.

Brava Renee!!!.......2005-09-28

This album is truly amazing. Renee has such a way with music from the Baroque era. She didn't over Romanticize the music. She lightened her voice perfectly for Handel's arias. The Giulio Cesare arias are incredible, and Endless Pleasure from Semele is astounding. Once again Brava!!

Average customer rating:

Terrific organ CD by a true virtuoso
Worthy of Purchase
Serious Classical Wedding Music

The Wedding Album

Manufacturer: Sony
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25 Wedding Favorites
The Ultimate Wedding Album
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Modern Bride Presents the Wedding Album

ASIN: B0000027JL
Release Date: 1991-05-24

Tracks:

Midsummer Night's Dream: Wedding March
Trumpet Voluntary: The Prince Of Denmark's March
Lohengrin: Bridal Chorus
Jesu, Joy of Man's Desire
Abdelazer, Or The Moor's Revenge: Rondeau
Air On The G String
Idomenee: Rigaudon
Coro
Water Music: Air
Water Music: Hornpipe
Water Music: Panis Angelicus
Sleepers, Awake!
Organ Sonata III: Con Moto Maestoso
Trumpet Tune In C: Processional
Messiah: Pastoral Symphony
Canon
Arioso
St. Anthony Chorale
Trumpet Voluntary
Ave Maria
Semele: Where'er You Walk
Ode To Joy
Sheep May Safely Graze
Trumpet Tune
Xerxes: Largo
Rejoice, Beloved Christians - Bach
Ave Mazria - Schubert
Samson: Let The Bright Seraphim - Handel

Customer Reviews:

Terrific organ CD by a true virtuoso.......2007-04-20

For the bride desiring classical repertoire at her wedding, and who's lucky enough to have access to a proficient organist (and a decent instrument), this is an excellent CD to audition. Newman is a world-class performer, but most of the selections should be within the grasp of any trained, degreed organist. These are NOT pieces you'd ask the little old lady at the Methodist church to play on her Hammond!

For another example of Newman's work, see:
Kathleen Battle · Wynton Marsalis ~ Baroque Duet / Anthony Newman · Orch St. Luke's · Nelson

Worthy of Purchase.......2003-10-15

As a musician and music lover, I have looked extensively for the right music for my traditional wedding ceremony with a couple of twists. So tired of the traditional bridal march, I chose Rigaudon as my entrance. This CD has good-quality sound, able musicianship, and 28 selections from which to choose. The organ is the best instrument in a cathedral to inspire the congregants. The bass tones are not too throaty, and the high pitches are clear, yet pleasing to the ear.

This compilation is better than some others in that it is all played on organ, has so many selections, and the overall feel is regal and celebratory.

Serious Classical Wedding Music.......2002-03-04

Most of the "wedding" albums are filled with a 15 - 30 of the 50 or so greatest classical wedding hits. Sample the albums on line before you buy. In fact, if the budget is tight, you can do the whole selection process on line by just playing the samples. First consider the instruments that you plan to use - organ, piano, guitar, brass ensemble, whatever. The instrument of course will have much to say about what to consider. Then select albums that have the selections played on the instrument(s) you are expecting to use. An organ is quite versatile of course and can handle anything for a keyboard and even does nicely for the festive trumpet in case your marching band first trumpet is tied up doing lifeguard duty.

My daughter and I have been serious music lovers and amateur pianists, violinist (she only), organist (I only), and singers. Since our church has a very good new electronic organ that can simulate very well the rich tones of a real pipe organ, we are looking for some heavy duty music for organ.

Listen to the sample from item 5, the Rondeau from Abdelazer by Henry Purcell. Play it loud and imagine it as a recessional - with the bride and groom waiting to turn around until the first repetition of the magnificent theme.

This is the only wedding album I found with this Rondeau arranged for organ. Many other albums have this selection played by a small chamber orchestra. That's the way it was written, but we won't be paying for an orchestra in church. And it's magnificent on organ.

Tracks:

Serse: Recitativo: Frondi Tenere
Serse: Aria: Ombra Mai Fu
Hercules: Recitative And Aria: Where Shall I Fly?
Semele: Recitative: Awake, Saturnia
Semele: Aria: Iris, Hence Away
Giulio Cesare In Egitto: Aria: Al Lampo Dell'armi
Giulio Cesare In Egitto: Recitativo Ed Aria: Dall'ondoso Periglio... Aure, Deh, Per Pieta
Giulio Cesare In Egitto: Aria: Priva Son D'ogni Conforto
Giulio Cesare In Egitto: Recitativo E Duetto: Madre!... Son Nata A Lagrimar - Stephanie Blythe/David Daniels/Martin Isepp
Saint Matthew Passion, BWV 244: Aria: Erbarme Dich, Mein Gott
Saint Matthew Passion, BWV 244: Aria: Konnen Tranen Meiner Wangen
Saint John Passion, BWV 245: Aria: Von Den Stricken Meiner Sunden
Saint John Passion, BWV 245: Aria: Es Ist Vollbracht! - Stephanie Blythe/Emmanuelle Haim/Jerome Hantai
Mass in b, BWV 232: Agnus Dei

Amazon.com

This is a lovely recording. Stephanie Blythe's voice must be one of the most beautiful to be heard today: smooth as silk, warm as velvet, pure, dark, almost masculine at times, even in quality across a big range down to F-sharp. She can spin out endless phrases without strain. Her intonation is impeccable, her expressiveness heartfelt, simple, and direct. The program is a string of priceless jewels, opening with the famous "Ombra mai fu" from "Serse" (better known as Handel's Largo) and closing with the Agnus Dei from Bach's B minor Mass. However, with the exception of Juno's furious outburst of jealousy from Handel's Semele, the dramatic "Where shall I fly?" from his Hercules, and one fast, light aria from Giulio Cesare, everything is slow and primarily mournful. This seems to be in the nature of the contralto repertoire, but it does generate a certain sameness despite all attempts to create variety.

One of the highlights is the heartrending mother-son duet between Cornelia and Sesto from Giulio Cesare with the splendid countertenor David Daniels, but Blythe includes both Cornelia's and Cesare's arias, fulfilling a wish no doubt cherished by many great contraltos, but impossible to realize on stage. She seems more at home in Handel's worldly arias than in Bach's sacred ones, some of which--notably the "Erbarme dich" from the St. Matthew Passion--sound a little too operatic. The violinist who plays the wonderful obbligato here is not named (and often inaudible); the fine wind soloists in the St. John Passion are also unidentified. The orchestra is good but rather stiff, the rhythm pedantic, the style, with normal tuning, semi-baroque. This is underscored by the truly baroque gamba solo in St. John. However, the beauty of the singing triumphs over all misgivings. --Edith Eisler

Customer Reviews:

When I directed her in muscials in High School, I knew she was special.......2005-07-08

I was Stephanie's teacher in High School and directed her in several theatrical productions. Not only was she an immensely talented actress, her voice always took my breath away. The other instructors and myself knew that Stephanie had "IT" and would someday be recognized for all the beauty her voice contains. I have seen her perform live and each and every time am amazed at the depth and feeling in her voice. This cd will not disappoint.

What a superb CD!!.......2005-02-27

WOW,

I bought this CD after I discovered this artist totally by accident (well, I usually do not listen to the vocal selections on the sampler CD from the British magazine "The Gramophone"). I guess that it was either fate or luck that made me listen to her selection of Wagner Lieder.

As I have always been a fan of alto/contralto's, I find Stephanie Blythe's voice to be smooth, creamy, solid, and very thrilling!!! I really like all of the Handel arias (which are top notch!!), and I will spend more time with the Bach.

This Virgin Classics CD is up to Virgin's usual high standard of recording, though I do wish that her voice was more centered between the right and left channels. Then again, my new system still needs some dialing in in my room.

I would highly recommend this CD to anyone who likes vocal music, opera, and best of all, for people who simply like stellar singing!!!

Well worth the 5 stars!!!

A Blythe Spirit and a Magical Duet With David Daniels.......2004-09-02

Contralto Stephanie Blythe has a warm, fluid voice that reminds me immediately of countertenor David Daniels, especially since she sings more accurately in the mezzo-soprano range. What they have in common is an artful blending of male and female vocal characteristics that produces a strong sound, rich and seductive. Dramatically she is not quite at his level yet, but it is a tribute to her interpretative talents that she can convincingly sing both Cesare and Cornelia in "Giulio Cesare in Egitto" in the four beautiful arias here. The disc's high point is in fact, a mother-son duet performed with Daniels, "Madre!...Son nata a lagrimar". Their voices meld together wonderfully. What I find intriguing is how his higher, more nuanced voice brings out the dramatic intensity of the piece, while Blythe's superb lower register brings out a lovely contrast since her voice dips deeper than Daniels'. It is as perfect a match as you'll hear in the Baroque world.

The remainder of the Handel arias displays her exceptional range, especially the plaintive "Ombra mai fù" from "Serse" and the vocal agility she displays in "Iris, Hence Away" from "Semele". The second half of the disc features four arias from Bach's "Passions", all more spiritual in tone than the Handel pieces but not as interesting dramatically. She still sounds lovely, but a certain monotony creeps into the last half-hour since these arias seem to create the same dream-like atmosphere and consequently do not require her to utilize her interpretative skills fully. John Nelson conducts the Ensemble Orchestral de Paris effectively, and perhaps to embody the spirit of the Bach pieces, the disc was recorded in a church, the Eglise Notre Dame du Liban in Paris. It is an impressive recital debut and makes one look forward to Stephanie Blythe's next work.

La Reina!.......2003-10-13

Stephanie Blythe is a name honored in the circles of the music cognescenti where she is considered nearly without peer as the reigning contralto of the day. In this very generous sampling of arias by Handel and Bach the reason for such admiration/devotion becomes readily apparent. Blythe may be called a 'contralto' and, indeed, she has that lush dark burnished tone so often conjured by the contralto roles in opera and oratorio. But she has an amazing range that allows her to effortlessly scale the contralto to mezzo to lyric to coloratura like few other singers. Only Marilyn Horne comes to mind as one with the beauty of voice in tandem with impeccable musicianship and technique for comparison.

Opening this recital (accompanied by John Nelson conducting the Ensemble Orchestral de Paris) she wisely selects the well-known 'Ombra mai fu' and allows first time listeners to bask in the beauty of tone and perfection of execution she brings to every subsequent work on this CD. Unlike other singers who attempt this repertoire Blythe shows no audible break in register as she soars into the passionate stratosphere of 'Where shall I fly' from Handel's "Semele" or plumbs the depths of Bach's touching arias from both the St Matthew and St John Passions.

As far as the perfect display of all her gifts in one piece then her duet with countertenor David Daniels in the 'Madre..Son nata a lagrimar' from Handel's "Guilio Cesare" is that pinnacle. This duet has to be one of the most beautiful baroque experiences ever captured on disc. A singer to watch and collect!

Solid baroque.......2003-09-03

Blythe has an excellent voice. She isn't Marilyn Horne or Ann Murray or Sarah Walker, but she's first class nonetheless, and this album is certainly worth having. The knock on Blythe, in my judgment, is that she lacks emotion and fire. She just sings, and the listener's mind might stray. The duet from Julius Caesar is the finest feature of the album, and is simply glorious. David Daniels is in a class all by himself.

Baroque For Brides To Be: A Musical Bouquet for Your Wedding Day

Average customer rating:

Definitely worth a close look!
A Perfect Gift
Great Music
Baroque for Brides-to-be

Baroque For Brides To Be: A Musical Bouquet for Your Wedding Day

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Classical Wedding
25 Wedding Favorites
The Ultimate Wedding Album
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ASIN: B0000041NF
Release Date: 1997-04-15

Tracks:

Pre-Wedding, Signing Of The Registry And General Music: Jesu, Joy of Man's Desiring
Pre-Wedding, Signing Of The Registry And General Music: Concerto In D Minor - Siciliano
Pre-Wedding, Signing Of The Registry And General Music: Water Music Suite No.1 - Air
Pre-Wedding, Signing Of The Registry And General Music: Oboe Concerto In D Minor - Adagio
Pre-Wedding, Signing Of The Registry And General Music: Orchestral Suite, No.3 In D - Air
Ombra mai fu (Xerxes)
Prelude To The Ceremony: Caro mio ben
Prelude To The Ceremony: Bist du bei mir (Thou art Near)
Prelude To The Ceremony: Sich uben im Lieben ('Wedding' Cantata No.202)
Prelude To The Ceremony: Let The Bright Seraphim (Samson)
Prelude To The Ceremony: Trumpet Voluntary
Prelude To The Ceremony: Canon In D
Whrer'er You Walk (Semele)
Recessional: The Arrival Of The Queen Of Sheba
Recessional: Water Music: Alla Hornpipe
Recessional: Cantata No.29 - Sinfonia In D
Recessional: Rondeay (Suite No.1 - 'Masterpiece Theater' Theme)
Recessional: Cantata No.51 - Alleluia
Bridal Chorus (Lohengrin)
A Midsummer Night's Dream: Wedding March (A Midsummer's Night Dream)

Customer Reviews:

Definitely worth a close look!.......2004-06-22

All of the songs on this CD are beautiful, and the CD is even labeled showing their choice of music dedicated to different parts of a wedding, but you don't have to use them as suggested. I arrived to Clarke's Trumpet Voluntary, less traditional than Wagner's Lohengrin but no less thrilling, and I thought it appropriate given the setting of a late a.m. garden wedding. We made our hasty exit to Handel's Arrival of the Queen of Sheba, which I have loved since I was a little girl and even though is called "'Arrival' of the Queen of Sheba", it was my wedding and I did it the way I wanted. Do it YOUR way, to music YOU love. It's your day! Good luck!!!!

A Perfect Gift.......2001-07-12

I love this cd! I actually own "Baroque for Bathtime" which is why I thought of this cd for my future sister-in-law. I think it will make a perfect little pre-wedding gift!

Great Music.......2000-02-23

I love this cd! Its probably one of the better buys I made concerning my wedding. Like most people, I have no idea what classical music is appropriate for a wedding, and for the wedding I hope to have. Listening to this cd has helped me make more intelligent choices and be more informed especially when I'm dealing with the church music director. I feel more confident knowing that I am familiar with the choices before me.

The renditions of the music is wonderful too. I always thought the Bridal Chorus from Lohegrin too "common" but listening to the orchestra and choir on this cd has changed my mind--its a beautiful interpretation of the song that's sure to bring a tear or two.

Baroque for Brides-to-be.......1999-12-04

Short and sweet: I am looking for wedding music to be played while guests are being seated, and I'm only having 2 songs sung by actual vocalists. Just listening to the music for reviewing is enough to bring tears to my eyes. My wedding is coming up in April 2000, so there is a lot of emotion going on inside of this bride-to-be. All in all, so far it is a beautiful album.

Average customer rating:

Marilyn Horne scintillates
One Of The Greatest Voices of All!
Not 100% satisfied with the selections, but what artistry!
Vive Madame Horne !

Just for the Record: The Golden Voice

Manufacturer: Decca
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Binding: Audio CD

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La Stupenda ~ The Supreme Voice of Joan Sutherland

ASIN: B0000TAYR0
Release Date: 2003-11-11

Tracks:

L'amour Est Un Oiseau Rebelle (Habanera)
Mon Coeur S'ouvre A Ta Voix
Eccomi Al Fine In Babilonia
Cruda Sorte!
Hence, Iris, Hence Away
Dove Sei, Amato Bene?
Che Disse! Che Ascoltai!
Addio, Addio O Miei Sospiri
O Pretres De Baal... O Toi, Qui M'abandonne
Elle Est La! Pres De Lui!
Mura Felici
Tanti Affetti

Tracks:

Superbo Di Me Stesso
Il Segreto Per Esser Felici - London Symphony Chorus
Mi Chiami, O Norma!
Deh! Con Te, Con Te Li Prendi
Mira, O Norma
Si, Fino All'ore Estreme
Soli Or Siamo... Condotta ell'era In Ceppi - Luciano Pavarotti
Non Son Tuo Figlio? - Luciano Pavarotti
Mal Reggendo - Luciano Pavarotti
E Un Anatema! - Renata Tebaldi
Nacht Und Traume, D 827
Abendlied
Traume
Jesus De Nazareth
Shenandoah
I Bought Me A Cat
The Lord's Prayer
Somewhere
At The River (Lowry)
Jeannie With The Light Brown Hair

Customer Reviews:

Marilyn Horne scintillates.......2007-05-20

This 2-CD set includes 32 separate "cuts." Thus, it provides a perspective on the broad range of works that Marilyn Horne mastered. While some pockets of work may be given somewhat short shrift (e.g., Rossini), overall this shows off her skills nicely. Born in Bradford, Pennsylvania (one of the coldest places in the nation during winter), she made her operatic debut in 1954. In liner notes copyrighted in 2003, she notes that: "Can't believe it's time for a 70th birthday celebration. . . ." And neither can I, since I recall hearing her perform at the Met (via the old Texaco opera show), and it does not seem all that long ago!

Some cuts well depict her artistry across a range of genres and composers.

The "Habanera" from Bizet's "Carmen" is, to be sure, an old chestnut by now, but she sings it with a rich and lustrous voice. She sings a seductive aria seductively.

"Eccomi al fine in Babilonia" is from Rossini's "Semiramide" and shows off her skills nicely. This piece shows off the range of her voice well. Her voice is very agile, as it would need to be to do Rossini justice. There are some nice runs; the cabaletta showcases her agility and allows her to display well sung ornamentation.

From Handel's "Semele," we hear "Hence, Iris, Hence Away." This is a sprightly piece that is characteristically well sung by Horne.

Handel's "Rosalinda" features a nice work for mezzos, "Dove sei amato bene?" If I hear correctly, Horne begins this with a trill in piano; there are a number of nicely executed trills in this work. This cut is smoothly and richly sung throughout.

"Addio, addio o miei sospiri" comes from "Orfeo ed Oridice" by Gluck. A sprightly paced work. Horne shows off excellent ornamentation; her coloratura technique is terrific.

From "Norma" (by Bellini) there are 4 cuts (from a longer scene), featuring collaboration with Joan Sutherland. The two singers worked well together in a number of operas, and this set of works illustrates that synergy beautifully. "Mi chiami, o Norma!" starts things off. The two voices meld extremely well together. "Deh! Con te, con te li prendi" features fine work all around. Both singers display good vocal dexterity. Horne hits one high note with a bit of harshness, but not an issue of any moment. "Mira, o Norma" is ravishing; Sutherland's and Horne's duet is absolutely wonderful. Finally, "Si, fino all'ore estreme." This is a fast paced duet, with both singers manifesting considerable vocal agility and sound coloratura technique. When they sing together, their voices almost sound "twinned."

Finally, "Jeannie with the Light Brown Hair." Horne sings this straight, without the ghastly "opera-tizing" that some singers cannot resist. Sung simply and powerfully. Her rich voice produces a very good vocal effect.

And so on.

Although this CD does not fully represent her repertoire, it does provide a good sense of the art of Marilyn Horne and it suggests the range of her singing. For those wanting to get a sense of Horne's oeuvre, this is one recording that provides entrée to her body of work.

One Of The Greatest Voices of All!.......2006-01-29

I am not the only one who regards Marilyn Horne's voice as exceptional. During the seventies and eighties she was regarded by The New York Times Music Critic as possessing the greatest voice of our time. One only has to sample this "golden" collection to prove how right he was. Her "mezzo" handles Handel and Rossini like no other. Brava all the way (To say nothing about Dalila's famous aria!) And I must even mention her "Jeannie With the Light Brown Hair". This is a two CD that is a MUST for those who appreciate the glories of the human voice (To say nothing about the warmth and spirit than accompany it.)

Not 100% satisfied with the selections, but what artistry!.......2004-11-03

Decca's release of this career-spanning Marilyn Horne recital contains many "golden" nuggets, but isn't the absolute best representation of her artistry, in my opinion.

There was certainly plenty of material to choose from, as Horne was one of the most recorded mezzos in the twentieth century. As advertised, Madame Horne personally approved the final recital list, and the diva undoubtedly has sentimental attachment to certain selections. Furthermore, a conscious attempt was made to represent the different genres explored during her decades-spanning career. This approach, however, leaves out some truly stunning material that would have made an even stronger case on why she was such an operatic institution.

In summary:

The first disc begins with the Habanera from Carmen. Horne was very proud of her Carmen, noting that it surpassed sales of Callas's Tosca at one point. It deserved to be included, but I don't think she was "THE" Carmen, and besides, the whole opera is so warmed-over by now, it's hard to get anyone excited about it!

From then on, we are treated to a bonanza of wonderful arie and scena. The aria from Samson et Delilah is a real gem. Horne was certainly not the most glamorous singer, but My God, the interpretation is heavenly. This is what the aria sounds like in the hands of a world-class contralto. Eccomi in Babilonia follows, and by anyone's measurement, she is the finest Arsace on record. Blessed with an extraordinary range, she is as fulminating in both the top and bottom registers. What's more, her spirited delivery magnifies the pure genius of Rossini's music. As for Cruda Sorte, "ditto," as Marilyn herself might say.

Next, we are treated to two excellent Handel arias. Iris, Hence Away gives me goosebumps everytime I hear it. This was recorded in the early sixties, for inclusion in the Age of Bel Canto recital she shared with Joan Sutherland and Richard Conrad. Now, if she had recorded this a few years later, she might have drove the coloratura harder. However, at this point, the voice had a somewhat lighter quality, thus the aria isn't sung with that all-purpose "Marilyn Horne" voice we are so used to. Speaking of lightness, Dove Sei, Amato Bene will send shivers down your spine. Again, Marilyn wasn't known for her subtlety, but she proves here that she was more than capable. Just listen to the fluttering trills and fil di voce, and dare to disagree with me! One of my major complaints is it there isn't more Handel on the recital. Sure, a whole recital of Handel arias by Horne is still available, but in this best-of disc, there was room at least for Or La Tromba, the trumpet aria from Rinaldo, and a personal favorite. Also, nothing is included from Vivaldi's Orlando Il Furioso, another travesty.

The pinnacle of the first disc is Addio, I Miei Sospiri, from Gluck's Orfeo ed Euridice. This is Horne magified to the nth power. Where to start? A scrumptiously sung recitativo, then the aria itself, with Marilyn pulling out all the stops. The bronzed tone, perfect breath control, spectacular coloratura fireworks, superlative diction, evenness and security from top to bottom, and Marilyn's own way of generating excitement will floor you. This is bravura singing at the highest level.

After a few other selections from the French reperetoire, the disc closes with two Rossini warhorses. Again, the "ultimate" Horne best-of would have saved room for more Rossini, on the second disc. But the evidence here is ample enough to proclaim her honorific as the leading interpreter of Rossini in the last century.

The second disc is less satisfactory. The first selection, Superbo Di Me Stesso sounds like it came from an inferior source, and wasn't remastered properly. Il Segreto Per Esser Felici, from Lucrezia Borgia is fine enough, but Marilyn could have ornamented more, and that snare drum is too loud! Then, we have an extended scene from Il Trovatore. Now, Marilyn herself stated that she wasn't perfect in Verdi. As she put it, she sang Verdi by not taking "both feet" out of the bel canto waters, so that she could go on singing the roles that brought her the most fame. This is understandable, but if that's the case, then we didn't need this long scene. Perhaps she wanted to highlight her collaboration with Luciano Pavarotti, and I'm sure Decca saw this as a way to lure the casual listener. For my money, though, they should have just included Stride La Vampa, and called it a day. This would have freed up lots of room for the stuff for which she's better recognized!

Now, another extended scene, from Norma, is completely justified. Equally important to Marilyn's legacy as an individual artist is her legacy as one-half of the Sutherland/Horne duo. I don't need to write more- the music speaks for itself.

The rest of the second disc throws in a bit of verismo (Horne is unrecognizeable in Ponchielli; Simionato she's not), a bit of German lieder, and some patriotic tunes. Along with Leontyne Price, Marilyn Horne was the most conciously patriotic singer out there, and to have left out her American recordings would have been a disgrace. But, again, we are given an ample serving of it, when it could have been scaled back some to make room for her operatic triumphs.

All in all, there is enough glorious material here for any fan of the legendary Marilyn Horne, and also those who want a taste of how a superlative mezzo/contralto sounds like.

Vive Madame Horne !.......2004-01-09

Je suis soufflée, et tout bonnement reconnaissante à Decca pour avoir sorti cette compil qui rend si bien honneur à une des mes interprètes préférées. Voix de velours, aisance dans le grave et médium unique au Monde, Marilyn a été, dans toutes ses incarnations, un pur produit américain, certes, mais quel produit ! Bien évidemment son timbre si particulier, que d'aucuns ont défini androgyne, peut plaire ou non... Ce qui compte c'est l'apport émotionnel qu'elle donne à tout ce qu'elle chante, et sans que cela n'enlève rien à la pure beauté de sa voix à la technique sans faille. Merci Mme Horne, pour nous avoir livré une des plus mémorables leçons de chant de l'histoire, et joyeux 70ème anniversaire (car il n'est pas déplacé que de dire votre âge, étant donné la vitalité qui vous caractérise depuis toujours).

Handel: Semele /Burrowes * Kwella * Priday * D Jones * Denley * Penrose * Rolfe Johnson * Davies * Lloyd * Thomas * Monteverdi Choir * English Baroque Soloists * Gardiner

Average customer rating:

WHATE'ER YOU TALK
It's all about Semele
Tuneful, dramatic, succinct . . .
Better Performance Than The DG
Try it after Nelson!

Handel: Semele /Burrowes * Kwella * Priday * D Jones * Denley * Penrose * Rolfe Johnson * Davies * Lloyd * Thomas * Monteverdi Choir * English Baroque Soloists * Gardiner

Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

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Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
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Handel: Floridante

ASIN: B000005EA0
Release Date: 1993-05-11

Tracks:

Semele: Overture
Semele: Act 1, Scene 1: 'Behold! Auspicious Flashes Rise'
Semele: Act 1, Scene 1: 'Lucky Omens Bless Our Rites'
Semele: Act 1, Scene 1: 'Ah, Me!'
Semele: Act 1, Scene 1: 'Why Dost Thou Thus Untimely Grieve'
Semele: Act 1, Scene 1: 'Avert These Omens'
Semele: Act 1, Scene 1: 'Cease, Cease Your Vows'
Semele: Act 1, Scene 2: 'Oh, Athamas, What Torture Hast Thou Borne!'
Semele: Act 1, Scene 2: 'You've Undone Me'
Semele: Act 1, Scene 3: 'Ah, Wretched Prince'
Semele: Act 1, Scene 4: 'See, See!'
Semele: Act 1, Scene 4: 'Endless Pleasure'
Semele: Act 1, Scene 4: 'Endless Pleasure'
Semele: Act 2: Sinfonia - Scene 1: 'Iris, Impatient Of Thy Stay'
Semele: Act 2, Scene 1: 'Look, Where Cithaeron Proudly Stands'
Semele: Act 2, Scene 1: 'Hence, Iris, Hence Away!'
Semele: Act 2, Scene 2: 'Come, Zephyrs, Come'
Semele: Act 2, Scene 3: 'Let Me Not Another Moment'
Semele: Act 2, Scene 3: 'Lay Your Doubts'
Semele: Act 2, Scene 3: 'With Fond Desiring'
Semele: Act 2, Scene 3: 'How Engaging'
Semele: Act 2, Scene 3: 'Too Well I Read Her Meaning'
Semele: Act 2, Scene 3: 'Now Love'

Tracks:

Semele: Act II, Scene 3: 'By My Command'
Semele: Act II, Scene 3: 'See, She Appears'
Semele: Act II, Scene 4: 'Dear Sister, How Was Your Journey Hither?'
Semele: Act II, Scene 4: 'Prepare Then, Ye Immortal Hither?'
Semele: Act II, Scene 4: 'Bless The Glad Earth'
Semele: Act III, Scene 1: 'Somnus, Awake!'
Semele: Act III, Scene 1: 'Leave Me, Loathsome Light!'
Semele: Act III, Scene 1: 'More Sweet Is That Name'
Semele: Act III, Scene 1: 'Obey My Will'
Semele: Act III, Scene 2: 'My Racking Thoughts'
Semele: Act III, Scene 3: 'Thus Shap'd Like Ino'
Semele: Act III, Scene 3; 'O Ecstasy Of Happiness'
Semele: Act III, Scene 3: 'Conjure Him By His Oath'
Semele: Act III, Scene 3: 'Thus Let My Thanks Be Pay'd'
Semele: Act III, Scene 4: 'Come To My Arms'
Semele: Act III, Scene 4: 'I Ever Am Granting'
Semele: Act III, Scene 4: 'Ah, Take Heed What You Press'
Semele: Act III, Scene 4: 'No, No I'll Take No Less'
Semele: Act III, Scene 5: 'Ah, Whither Is She Gone!'
Semele: Act III, Scene 6: 'Above Measure Is The Pleasure'
Semele: Act III, Scene 7: 'Ah, Me! Too Late I Now Repent'
Semele: Act III, Scene 8: 'Of My Ill-Boding Dream'
Semele: Act III, Scene The Last: 'See From Above The Bellying Clouds Descend'
Semele: Act III, Scene The Last: 'Happy, Happy Shall We Be'

Amazon.com

Although he billed this piece as an oratorio, it's really an opera--the first ever in English, and one of the finest too. Handel's audience wasn't fooled for a minute, and a successful performance needs a dazzling cast of singers, just as in the composer's Italian operas. Good as John Eliot Gardiner's singers are, they don't surpass John Nelson's cast on DG, nor does Gardiner's direction offer much competition. Had the DG not existed this would be perfectly recommendable, but life is cruel, and you deserve the best. --David Hurwitz

Customer Reviews:

WHATE'ER YOU TALK.......2007-03-09

Semele is a comic opera in my own view, much as Don Giovanni is a `dramma giocoso'. The character that each drama is named after comes to a sticky end through supernatural agencies, but neither seems to me to be any overtly moral tale. Handel chose to call Semele a `secular oratorio' for pressing practical reasons. His beloved Italian opera was out of fashion in England, and oratorio in English was the in-thing. Semele is in English, and Handel performed it without stage-trappings, but the whole feel of the work is nothing like his genuine `sacred grand oratorios'. He had not lost his own taste for opera but his fickle public had, and the terminology had to suit the need of the hour.

There is a lot more to Semele than the famous `Where'er You Walk'. Even in its immediate context that aria is just the first of a string of particularly beautiful solos and duets. More generally, Semele is a mythological drama based on Ovid, the ultimate literary smartypants of the ancient world. Congreve had taken Ovid's story and given it in his own flat and de-smartified English before Handel even reached London, but as a ready-made libretto it was excellent, and Handel restores some of the humour with his inspired settings of drowsy music for Somnus the god of sleep and very witty effects when the deluded Semele, transfixed with her own beauty, gazes at herself in the mirror.

Gardiner's account is one that I can recommend without reservation, but I would advise readers of this notice to look also at the reviews of a rival DG version which some commentators find preferable in certain respects. I must admit that Gardiner's version does not get off to the best possible start with some very there-or-thereabouts intonation from the uncredited bass who gives the opening recitative of the priest. Unless I'm mistaken this is actually Robert Lloyd who is otherwise excellent as Cadmus, and who has a beautiful voice once the orchestra is there to support his pitch. In fact I would call all the singing excellent after this slightly shaky start. In particular you will hear some sizzling vocal virtuosity in the coloratura sequences from both Semele herself and Jupiter, David Thomas is absolutely superb as the drowsy Somnus, and the small chorus is admirably clear and sprightly. (One way in which this work differs sharply from Handel's oratorios is precisely his treatment of the chorus. You will hear the genuine tone of Handelian awe near the end in the chorus `Oh Terror', but you will hear it there and there only. Elsewhere the choral effect is much lighter and less portentous than in the oratorios, and even the choral `happy ending' is an entirely different proposition from its counterpart in Jephtha.) Among the cast I am pleased to report that the tried and trusted are here in the form of Anthony Rolfe-Johnson, Della Jones, Norma Burrowes and Catherine Denley and that none of them let us down. The other names may be new to me, but I'm very happy with them all, and in particular the counter-tenor role of Athamas - always something I await with some trepidation - is admirably dealt with by Timothy Penrose. The orchestral players are the ever-eminent English Baroque Soloists, and I was especially gratified by the sensitivity and care for beauty of sound that goes into the continuo playing. Beecham's caustic description of the harpsichord as `a bird-cage played with toasting-forks', so sadly applicable elsewhere, finds no echo here I am delighted to say, and the recording strikes me as excellent.

The liner-note calls for some comment. Congreve's full text is given, with French and German translations, but the long and very Gallic essay by Jean-Louis Martinoty, again with English and German versions, is something very exceptional. I'm sure it would have got him high marks at the Sorbonne for the scope of its (at least apparent) erudition, and I myself read it with great interest (the translation is excellent) and with some benefit, but with more interest than benefit. To cut his long story short, you can safely go directly from Ovid to Congreve without detouring down every literary byway in between. I should also take with a pinch of salt some of his more recherché extractions of deep meaning, allegory and symbolism. The ancient Greek myths were explored by the Attic tragedians as they pondered the fate of humankind and sought to illuminate the supra-human forces that act on us in ways we may misunderstand to our cost. Ovid's perky genius lightened the whole effect, reducing the heavy messages to the level of fairy-tales. Whether Congreve has added any contemporary references in disguise I don't know, but if he has they would refer to events before Handel came to England, and double meanings of this kind seem to me not to be Handel's style in the least. He knew a story that would gain from the dimension of his music when he saw one, and the extra significance that provides is enough for me. I have not tried to verify Martinoty's scholarship in any detail, but when he cites uncritically an ancient `derivation' of the name Apollo I can tell him that the ancients were uniformly at sea with this issue, that the derivation he cites is impossible (as well as misprinted) and that the science of comparative philology did not get going until Bentley in the 18th century.

Nothing is said in the liner about the performing version, and it is nothing to worry about in any case. Handel altered his scores from one performance to the next, there is hardly such a thing as an `official' Handel score, Gardiner knows the details better than I do, the score here is a model of coherency and I make no further enquiry. This may not be the only fine version available, but in general it must be a hard one to surpass in most ways.

It's all about Semele.......2005-02-28

I recommend this Semele recording for a simple reason. Norma Burrowes is perfect as the title role. She has a freshness in her voice, a youthfulness that is necessary to sing Semele's part, and that is not found with other sopranos, who tend to sound too mature. Her rendition of "Oh, Sleep, why dost thou leave me" is unbeatable. Burrowes' voice makes great contrast with Della Jones' as Juno. I also find Anthony Rolfe-Johnson's voice as Jupiter a little too youthful for that matter.

Tuneful, dramatic, succinct . . ........2003-07-27

David Hurwitz, the Amazon.com reviewer, refers to "Semele" as the first ever opera in English, but surely is forgetting "Venus & Adonis" (Blow) or "Dido & Aeneas" (Purcell), which date from the previous century (and may be unaware that the same libretto by Congreve that Handel used for Semele was set decades earlier by Eccles, though never performed)! This incredible oversight is matched by his opinion that Nelson's 'modern' performance surpasses Gardiner's. (I was first acquainted with Nelson's recording before I got to know Gardiner's, and Nelson's is too problematic to my ears to even consider buying at a knock-down price).

"Semele" cannot be satisfactorily described as either an Italianate opera or an English oratorio. It doesn't conform to the strict structure of opera seria nor, with a plot derived from classical mythology (one of Ovid's Metamorphoses), does it conform to the religious character of the oratorio. Instead, it lies somewhere in between. I tend to refer to it as an English baroque opera anwyay and, considering opera in English was never really a flourishing genre, I think this is fair.

This recording is really very good and, for several reasons, is preferrable, in my opinion, to the recent recording by John Nelson which features Kathleen Battle in the title role, John Aler as Jupiter and Marylin Horne as both Ino and Juno - and this latter veteran, it has to be said, is probably the recording's most disappointing aspect (along with Battles' sucking in of breath). One may complain that Gardiner has made a few cuts - but the only cut I genuinely regret is part of the emotional exchange between Athamas and Ino, which is potentially one of the work's most moving scenes (Horne's delivery of it, by the way, ultimately becomes too harsh on the ear). Catherine Denley, though deprived part of this moving scene, is a most accomplished mezzo, and sings the role of Ino with the necessary maturity but without the constricted throat (and audible age) of her counterpart on Nelson's recording.

It was absolutely the right choice to cast Norma Burrowes in the title role. She is perfectly suited to it - a naturally pretty and naturally high soprano. Youthful, gentle and unaffected in comparison with her Nelson counterpart, her first recitative and aria (Can Semele forego thy love) is simply stunning. One of her arias (Endless pleasure, endless love) suffers from poor recording levels (perhaps the result of the live recording - she sounds a little distant at times), but that is my only complaint. She portrays the character of Semele and her unfortunate obsession with her divine lover beautifully. Indeed, it is the tragic unfolding of the fate of Semele alongside Ino's unrequited love for Athamas, her sister's betrothed, that for me is the appeal of this opera, besides the wealth of lovely tunes. Anthony Rolfe-Johnson sings the role of Jupiter almost perfectly, with sensitivity to the text; he delivers a touching, if slightly melancholy, rendition of "Where'er you walk" (it's meant to be a reassuring aria but, to my limited knowledge, no singer has realised it yet).

Della Jones gives a sparkling performance: she suits the jealous Juno down to the ground. Her excellent diction and dramatic flare are breathtaking - she seizes the stage uttering but a few words at times, delivering an aria at others, relishing every moment - her involvement and commitment to the part - or, indeed, any part she plays - can only be marvelled at. In fact, she, more than Denley, makes clear why Marylin Horne just isn't up to it. Her first accompanied recitative where she condemns "the cursed Semele" to "the flood of Acheron" has to be heard to be believed. Patrizia Kwella, as Juno's attendant, Iris, does her best to keep up with Jones and does a decent job - her somewhat two-dimensional voice showing its unfortunate face mainly on her first aria, managing to muster greater conviction for the recitatives.

Robert Lloyd, an excellent bass, is a marvellous and very human King Cadmus of Thebes (father of Semele) - and his counterpart on Nelson's recording, Samuel Ramey, simply doesn't possess the intent, or the involvement in the part, to deliver the words convincingly. Timothy Penrose is certainly an adequate Athamas (even in Semele's eyes, I'm sure) but he's not the most pleasing countertenor - in Michael Chance, Nelson has the better singer (though I look forward to one-day hearing a singer such as Daniel Taylor in the part).

David Thomas, who for me is usually the bane of any recording with his hammy, thoughtless kermit-the-frog vocals that often are more showmanship than singing, surprised me on this occasion with a tolerable Somnus - his odd, 'do-ey' (by which I suppose I mean thoughtless, 'trying' rather than thinking) quality remains still audible even in his 'peaceful' air and he becomes a little excited during the duet with Juno, but I suppose this is to be expected given the nature of the scene. The sad irony is that although his scene is meant to be comic, Thomas manages to sound comic at the same time as sounding as though he doesn't intend to (though one would imagine he does).

Catherine Prierard, as Cupid, has a convincingly boyish voice, but it is sometimes difficult to make out what she is singing and the aria is a little high for her. (Having heard Nancy Argenta sing Cupid splendidly on Medlam's recording of John Blow's "Venus and Adonis", I can't help comparing the two). Maldwyn Davies, who makes an even briefer appearance as Apollo, gives a fine delivery. The choruses, especially of the priests, are brilliant (they sound suffocated on Nelson's recording).

So, Nelson's recording has (tenuous) the advantage of more recent recording technology but surpasses Gardiner's recording in neither soloists nor choir. Another downside to Nelson's is that the English Chamber Orchestra is not period instrument, which may be what makes the playing slightly less beautiful than one would expect. Though I suspect the event of a more ideal recording is not too many years away (if the recording of July 2003 by Daniel Stern doesn't in fact prove to be such), I would recommend this, Gardiner's recording, in the meantime and as an addition to any recording you might own.

Better Performance Than The DG.......2001-05-03

I may be alone in this, but I think this is a slightly better performance than the much-praised DG version. It has nothing to do with period instruments; it's that Gardiner has better soloists in the lead roles. Don't get me wrong: All the singers on the DG version are good (though many of them were better in a concert performance given five years before the recording was made). But Norma Burrowes is less coy and less prone to crooning than Kathleen Battle, Della Jones in fresher voice and more technically secure than Marilyn Horne (who would have been ideal if only she'd recorded the part ten years earlier), and the great Anthony Rolfe Johnson edges out DG's merely good John Aler as Jupiter. Gardiner also has the advantage of his great Monteverdi choir, much more dramatic than DG's chorus. And finally, Gardiner is as always a great Handel conductor; Handel and Purcell are probably the composers with whom he has the most affinity.

That said, the DG is probably still the first choice for this great work, simply because Gardiner cuts several good arias. On the other hand, if you don't want to shell out the price of three full-priced CDs, get this mid-priced set and get it with confidence. You'll be glad you did; it's a great work, whichever recording you get.

Try it after Nelson!.......2000-04-09

This is a very satisfying recording of "Semele", even more so if you like its price, however, if you want a first class recording of this opera and if you are willing to pay for a 3 CD set, get the Deutsche Grammophon "Semele" conducted by Nelson. Even if you are an "authentist", do not be afraid of this modern instruments rendition of Handel's delightful score. Gardiner omits many numbers and his performance lacks the excitement of the DG set, but once you get acquainted with the complete opera, you may want to give Gardiner a try and buy either the whole set or its highlights. There is some very good singing there (especially from Anthony Rolfe Johnson) and it is always fascinating to compare various approaches to the same music. This opportunity doesn't happen too often with Handel's operas, so why waste it?

Average customer rating:

Great listening. Nice selection.
There is two type of mezzo...
A Mezzo for the Ages
Larmore can certainly fly!

Jennifer Larmore - Where Shall I Fly
Wolfgang Amadeus Mozart , George Frideric Handel , Lausanne Chamber Orchestra , Jesus Lopez-Cobos , and Jennifer Larmore
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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ASIN: B000000SP5
Release Date: 1995-10-03

Tracks:

La finta semplice: 'Che scompiglio, che flagello'
Le nozze di Figaro: 'Voi che sapete'
La Clemenza di Tito: 'Deh per questo istante solo'
Serse: 'Ombra mai fu'
Hercules: 'Where Shall I Fly'
Mitridate, Re Di Ponto: 'Gia dagli occhi'
La finta giardiniera: 'Va pure ad altri in braccio'
Ariodante: 'Dopo notte'
Semele: 'Hence, Iris, hence away'
Rinaldo: 'Cara sposa'
Cosi fan tutte: 'Ah, scostati...'Smanie implacabili'
La Clemenza di Tito: 'Parto, ma tu ben mio'

Customer Reviews:

Great listening. Nice selection........2006-07-13

'Where Shall I Fly' by contemporary mezzo-soprano Jennifer Larmore is a big surprise when you first listen to it, as one wonders how such big sounds come from such a petite looking lady who'se face is on the cover. The title comes from the name of a Handel aria from the opera Hercules. This is one of the two English language arias on the CD, the other being from Handel's 'Semele'. All other arias from both Handel and Mozart are in Italian, the most familiar being 'Voi che sapete' from Mozart's 'Le nozze di Figaro'.

As an amateur listener to classical music, I suspect Ms. Larmore is not as highly ranked (Jim Furyk to Renee Fleming's Tiger Woods)as some other mezzos, but this particular collection is makes very nice listening, at least as enjoyable as Ms. Fleming's take on Mozart.

There is two type of mezzo..........2002-04-18

Today,it's a time of mezzo.Bartoli,Otter,etc.Larmore is
one of the most exellent,of course.
On this Hendel arias,she plays male roles.I think it is
very suitable for her.Probably these roles were played by
castratos.Castoratos need storong and radiant voice,which
Larmore has!I prefer her male roles.She will open new windows
of baroque operas.What she impresses us is not a coquetry.
She belongs to another type of mezzo.

A Mezzo for the Ages.......1999-12-05

Having heard all the great mezzos of the past 40 years, many of them (Baker, Cossotto, Horne, von Stade, Valentini-Terrani) in person, I can attest that Jennifer Larmore is one of the greatest. Though her voice is not always stunningly beautiful and her technique not completely polished, there is no question that her COMBINATION of voice, technique and interpretive nuance is unsurpassed in the modern era. Agnes Baltsa may be more honeyed of voice, for instance, but she lacks the sheer excitement and joie-de-vivre that Larmore brings to her singing. In these Baroque and Classical numbers, she also displays a deft sense of style fully apropos to the music at hand. She is truly a mezzo for the ages.

Larmore can certainly fly!.......1998-11-09

This recording albeit less colorful than her more recent stuff shows the promise that she has delivered to all of us. She is truly a blessing with her mezzo-soprano and her richness is unparalleled by few that I know of.

Average customer rating:

An excellent album from this marvellous countertenor
a voice teacher and early music fan
What would this world be without countertenors?
no emotion
Heavenly Voice

Andreas Scholl - Heroes / Norrington
George Frideric Handel , Johann Adolf Hasse , Christoph Willibald Gluck , Wolfgang Amadeus Mozart , Roger Norrington , Andreas Scholl , and Orchestra of the Age of Enlightenment
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

The Voice
Andreas Scholl - Kantate
Andreas Scholl - Ombra mai fu ~ Handel Arias from Giulio Cesare, Admeto, Radamisto, Rodelinda, Serse, Alcina
Arias for Senesino
Vivaldi: Nisi Dominus; Motets

ASIN: B00000IX7A
Release Date: 1999-05-11

Tracks:

Serse, HWV 40: Frondi tenere
Serse, HWV 40: Ombri mai fu
Semele, HWV 58: Where'er You Walk
Saul, HWV 53: Such Haughty Beauties
Saul, HWV 53: Oh Lord, Whose Mercies Numberless
Rodelinda, regina de' Langobardi, HWV 19: Vivi, tiranno!
Rodelinda, regina de' Langobardi, HWV 19: Con rauco mormorio
Giulio Cesare in Egitto, HWV 17: Dall'ondoso periglio
Giulio Cesare in Egitto, HWV 17: Aure, deh, per pieta spirate
Artaserse: Pallido il sole - Andreas Scholl
Orfeo ed Euridice: Che faro senza Euridice ? - Gluck
Ascanio in Alba, K111: Al mio ben mi veggio avanti - Mozart
Telemaco: Ah! non turbi il mio riposo - Gluck
Mitridate, re di Ponto, K87 - 74a: Venga pur, minacci e frema - Mozart

Amazon.com

The gods of musical commerce are smiling on hot young countertenor Andreas Scholl: this is his second CD of opera arias to appear in less than a month. The previous disc, a selection of Handel arias on Harmonia Mundi, showcased Scholl's considerable strengths: subtle and sensitive phrasing, deft coloratura, and a pure, rounded tone with little of the disembodied hootiness that used to be accepted from countertenors. His first recital disc for Decca gives us a wider range of music (Hasse, Gluck, and Mozart as well as Handel) and a more complete representation of Scholl's singing--vices as well as virtues. Among the former are his top notes (sometimes squealy or poorly tuned) and a Joan Sutherland-like combination of beautiful sound with indistinct diction and lack of temperament. This is particularly damaging in the laments from Rodelinda and Giulio Cesare, which come across as mere pleasant pastorales; the famous "Che farò?" from Gluck's Orfeo ed Euridice sounds self-satisfied rather than bereft. (To be fair, Roger Norrington's jaunty tempos deserve much of the blame for this.) Scholl also aspirates his coloratura, which will bother some listeners more than others. On the other hand, "Oh, Lord, whose mercies numberless" from Handel's Saul is radiant, and the two arias from early Mozart operas are thrilling. In the end, the disc gives a fair, well-rounded picture of an important young singer. Speaking of pictures, by the way, Decca's photographer deserves plaudits for making this tall, somewhat gawky German with Nana Mouskouri glasses look almost glamorous. --Matthew Westphal

Customer Reviews:

An excellent album from this marvellous countertenor.......2007-03-16

I'm no expert in classical music and found my way to this album by a rather circuitous route. I hadn't heard a countertenor before listening to a snippet of Andreas Scholl singing Ombra Mai Fù on iTunes and finding his voice very intriguing. I did a little research on the countertenor voice, not sure whether I actually liked what I heard or not. Eventually I decided to try a CD and I picked "Heroes" as it has Ombra Mai Fù - yes, a very popular a possibly over-sung aria, but still one I love.

"Heroes" was probably just the right album for me to pick. There's a range of different music on here, some Italian, some in English, and with different singing styles. But throughout the whole album Andreas Scholl's voice is just stunning. It's a very warm, pure sound and you can hear the words that he's singing. It's not over-warbly, something I don't like in classical singers, but on the other hand he doesn't sing in a plain or bland manner. It's an album that, for me, improves as I listen to it more and more. And yes, I do very much like his voice; I've never been a fan of female altos, somehow they don't seem to quite have the power or feeling that I like to listen to, but Andreas Scholl seems able to produce that. Not only have I now ordered his "Arias for Senesino" album because I enjoyed this one so much but I'm planning to attend a concert where he is singing in Germany. And that, as a result of listening to just one CD, is high praise indeed!

a voice teacher and early music fan.......2006-11-06

I like the quote by Andreas Scholl printed on the outside of the record jacket: "There is more to heroism than winning fearlessly. My heroes have moments of weakness and must overcome their difficulties." There is no doubt that when he chose the selections for this disc he had this thought in mind. Heroes such as Jupiter in 'Semele' who praised his lover Semele with the lovely 'Where'er You Walk' and at the end killed her (nice guy)- Bertarido in 'Rodelinda' singing 'Vivi,tiranno'after killing a mobster(justifably) and then refusing to kill the 'ringleader'- Orfeo in'Orfeo and Euridice' singing a song of longing for his wife after sending her back to death by making a huge error- and David in 'Saul' singing 'O Lord, Whose Mercies Numberless' one minute asking God to help Saul and afterward hating and fearing him. Scholl handles all of these situations pretty much in character. His voice, as always, is clear reflecting the fact that his training even thuout his 'changing' voice at puberty was always geared to the head voice. His teacher cleverly detected that that was his best voice. Of course, the English for centuries have known this and followed thru producing such excellent countertenors as Bowman,Chance,Blaze etc. This is a very exciting and entertaining group of arias well worth the purchase.

What would this world be without countertenors?.......2002-12-11

I met my first countertenor a few years ago and I had the priviledge of singing beside him in our choir. The incredible purity of the countertenor voice is something that I, as a Baroque music lover, can only dream of achieving. I think that Andreas Scholl is one of the most incredible countertenors today. The purity of his sound and the passion of his performances speaks to me in ways that only music can. I own several of his albums, and this is my favorite. Nothing is quite incredible as in 'Pallido Il Sole' when he dips into his natural baritone register for a few notes and comes back up again. There is something mystical and beautiful about male altos and we, as the female counterparts, should try to emulate.

no emotion.......2002-09-29

If nice voice only is what you are looking for, go for this CD. But if you are looking for the emotion and the _interpretation_ of the arias (my case), this is not your choice. No emotion comes across....Pity.

Heavenly Voice.......2001-09-21

I like so much Baroque music. At this period, singer is a man that is not a woman. They are always prase for GOD, love......
If you can select this CD, you can meet the new classic world.