Handel: Giulio Cesare in Egitto

On this CD:

1. Giulio Cesare in Egitto, opera, HWV 17
Composed by George Frideric Handel
Performed by Montserrat Caballe, Simon Estes, Kostas Paskalis, Huguette Tourangeau

Handel: Giulio Cesare in Egitto, Music, Kostas Paskalis, George Frideric Handel, Huguette Tourangeau, Montserrat Caballé, Simon Estes, Classical, Italian Baroque Opera, Opera, Opera / Operetta / Oratorio, Opera/Operetta

Handel - Julius Caesar / Treigle · Sills · Forrester · Wolff · NYCO · Rudel
Average customer rating:

forget the "purists" and enjoy!

Beverly Sills, American Legend: Ave Atque Vale

beverly sill

Classic performance

Fine performances, flawed recording quality

Handel - Julius Caesar / Treigle · Sills · Forrester · Wolff · NYCO · Rudel
George Frideric Handel , Julius Rudel , Beverly Sills , Norman Treigle , Maureen Forrester , Spiro Malas , Michael Devlin , Eugenia Earle , Beverly Wolff , William Beck , Dominic Cossa , and New York City Opera Chorus and Orchestra
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Massenet: Manon

Verdi: La Traviata / Sills, Gedda, Panerai; Ceccato

Rossini: L'Assedio di Corinto

Bellini: I Capuleti e i Montecchi

ASIN: B000003EOP
Release Date: 1990-10-25

Tracks:

Julius Ceasar: Overture - Wolff
Julius Ceasar: Viva, viva il nostro Alcide! - Wolff
Julius Ceasar: Presti omai l'Egizia terra - Wolff
Julius Ceasar: Curio, Cesare venna e vide e vinse - Wolff
Julius Ceasar: Sua reggia tolomeo - Wolff
Julius Ceasar: Giulio, che miri? - Wolff
Julius Ceasar: Empio, diro, tu sei - Wolff
Julius Ceasar: Gia torna in se - Wolff
Julius Ceasar: Priva son d'ogni conforto - Wolff
Julius Ceasar: Vani sono i lamenti - Wolff
Julius Ceasar: Regni Cleopatra - Wolff
Julius Ceasar: Vanne, e torna omai - Wolff
Julius Ceasar: Sire, Signor! - Wolff
Julius Ceasar: Alma del gran pompeo - Wolff
Julius Ceasar: Qui nobile donzella - Wolff
Julius Ceasar: Avanti al tuo cospetto - Wolff
Julius Ceasar: Sfortunata donzella - Wolff
Julius Ceasar: Ahime! Vile e negletta - Wolff
Julius Ceasar: Cara speme - Wolff
Julius Ceasar: Oh, quanto bella gloria - Wolff
Julius Ceasar: Va tacito e nascosto - Wolff
Julius Ceasar: Dove, dove, inumani - Wolff

Tracks:

Julius Ceasar: E seguisti, o Niren - G.F. Handel
Julius Ceasar: Taci! -- che fia? - G.F. Handel
Julius Ceasar: V'adoro, pupille - G.F. Handel
Julius Ceasar: Non ha in cielo - G.F. Handel
Julius Ceasar: Piu amabile belta - G.F. Handel
Julius Ceasar: Deh, piangete, o mesti lumi - G.F. Handel
Julius Ceasar: Se a me non sei crudele - G.F. Handel
Julius Ceasar: Si spietata - G.F. Handel
Julius Ceasar: Madre! Ferma! - G.F. Handel
Julius Ceasar: Cessa omai di sospirare! - G.F. Handel
Julius Ceasar: Figlio non e - G.F. Handel
Julius Ceasar: Bella Lidia - G.F. Handel
Julius Ceasar: Mora, mora, mora - G.F. Handel
Julius Ceasar: Se pieta di me non senti - G.F. Handel
Julius Ceasar: Sinfonia - G.F. Handel
Julius Ceasar: Vinta cadesti al balenar - G.F. Handel
Julius Ceasar: Dall'ondoso periglio - G.F. Handel
Julius Ceasar: Cerco in van Tolomeo - G.F. Handel
Julius Ceasar: Lascia questo sigillo! - G.F. Handel
Julius Ceasar: Voi, che mie fide ancelle - G.F. Handel
Julius Ceasar: Cesare, o un'ombra sei? - G.F. Handel
Julius Ceasar: Da tempeste il legno infranto - G.F. Handel
Julius Ceasar: Cornelia, e tempo omai - G.F. Handel
Julius Ceasar: La vendetta del padre - G.F. Handel

Customer Reviews:

forget the "purists" and enjoy!.......2007-07-17

In the last 20-30 years with all of the emphasis on "early music" and "authentic" versions that are not edited, there have been many opera fans who dismiss this performance/production somewhat condescendingly. Ignore them! Here's what caused her to become the people's prima donna, and led to her debuts at La Scala and the Royal Opera in London. Certainly there have been other sopranos in the 20th century with brilliant coloratura (Sutherland, Caballe, Callas) but few were as effective dramatically, as heartfelt, or had the Brooklyn "razzle-dazzle" that made opera fans on both side of the Atlantic fall in love with her. It may sound like a cliche, but we lost a national treasure!

Beverly Sills, American Legend: Ave Atque Vale.......2007-07-04

The world is diminished with the news of the death of Beverly Sills. Her impact on American Opera will never be matched. She was an Original, a woman of great beauty, creative intelligence not only in her vocal production, pyrotechniques, and range, but also in her commitment to acting and drama, bringing a far larger audience to the opera houses with both her gifts as an artist and her compassion for those experiencing opera for the first time. Her performances were full of life, uncannily beautiful in singing and deportment, and aided by her own insistence on the use of supertitles above the proscenium arch, a gracious bow to her audiences to draw them into the stories of the works. La Sills had the intelligence to make her final bow on the stage when signs of vocal weakness began to show. Everything she did was form her heart and her brain and her humanity.

Finding a work to call a signature role for her wide repertoire is difficult, but for most of us her creation of Cleopatra as captured in this recording of Handel's 'Giulio Cesare' is a zenith. She sparkles and stuns with her effortless singing and embellishments and she is accompanied by her old friends Norman Treigle, Spiro Malas, Michael Devlin, Maureen Forrester, Beverly Wolff, Dominic Cossa and of course, Julius Rudel who with Sills brought the New York City Opera to importance.

Yes, the recording is old and now dated and now that Handel's jewel is a frequently performed opera in the original style (countertenors, original instrumentation, etc), the performance does sound a bit florid and thick. But Beverly Sills shines brightly and this is the great selfless star we will all remember. Grady Harp, July 07

beverly sill.......2007-05-18

beverly is enchanting as cleopatra. i have started a beverly collection of operas which i am sure will rival my callas collection

Classic performance.......2007-05-13

If you like this opera, this recording is a must have. Good sound quality, amazing performance. Yes, this is one of the productions that launched Beverly Sills' career. I have yet to see or hear a performance of Cleopatra that comes close.

Fine performances, flawed recording quality.......2007-05-05

The women steal the show here--Forrester's voice lush and gorgeous, Sills at her mindblowing coloratura best. I imagine Treigle's booming, grainy voice was powerful on stage, but at times it sounds coarse and a bit wobbly here in the more difficult passages. All in all this is a fine disc, true to Handel without period instrument nonsense, though the recording quality is bad for 1967 (distortion on high notes and forte voice passages), when EMI and Decca and DG were turning out superb sounding operas on a regular basis.

Average customer rating:

5 Stars Discounting Recording Problems
Perfect for homeschooling.
In Words & Music
Don't blink

The Story Of Handel

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001KCX
Release Date: 1995-04-16

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Water Music
Israel In Egupt: 'He Gave Them Hailstones'
Organ Concerto No. 16 In F Major: Larghetto affetuoso
Messiah: I Know That My Redeemer Liveth
The Faithful Shepherd: Overture
Terpsichore: Overture
Julius Caesar: Aria Of Ptolemy
Sonata No. 1 In B Flat Major For Recorder And Harpsichord: Finale
Concerto Grosso In G Minor, Op. 6 No. 6: Fugue
Messiah: Every Valley Shall Be Exalted
Rodelinda: Overure
Ezio: Overture
Organ Concerto No. 13 In Major: Larghetto
Water Music: Hornpipe
Fantasia In C Major
Harmonious Blacksmith
Water Music: Andante
Julius Caesar: Finale
Organ Concerto No. 5 In F Major: Allegro
Alexander's Feast: Oveture
Serse: Largo
Isreal In Egypt: He Spake The Word
Larghetto e staccato
Messiah: Hallelujah Chorus
Israel In Egypt: The Horse And His Rider
Messiah: Why Do The Nations
Judas Maccabeus: Hallelujah Amen
Israel In Egypt: And The Children If Israel Sighed
Messiah: Hallelujah
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Water Music: III. Allegro
Water Music: IV. Allegro
Water Music: VII. Bourree Hornpipe
Water Music: X.
Water Music: XI
Water Music: XVI
Water Music: XVII
Water Music: XVIII
Water Music: XIX

Customer Reviews:

5 Stars Discounting Recording Problems.......2007-05-14

The content is terrific. This CD is one of a series of classical music masters. The only problem is that tracks 38 and later have a lot of distortion/static. I returned thinking it was a problem with the disc, but the replacement disc had the same problem. If not for that, I would have rated 5 stars.

Perfect for homeschooling........2007-01-29

The narratives are short enough to keep your children's attention, the music may be short in some instances but if you're playing it in the background for exposure- it doesn't matter. The price is great and the cheapest you'll find in addition to the 4 for 3 deal. We have all 18 of these cds and don't regret it!

In Words & Music.......2000-07-24

I have found this recording series to be a very helpful introductory teaching device for my young children. It gives a brief history of the composer and samples of the musical style.

Don't blink.......2000-05-03

The music on this CD is all wonderful, and it's a perfect CD toget - if you have the attention span of a soap bubble! Thisis a "sampler" with narrative and very few of thepieces listed are actually played in their entirety. Even pieces which are short to begin with are excerpted. We are given a whole minute of the Hallelujah Chorus and a rousing 45 seconds from the overture from "Ezio". This is a teaching CD which gives some fine examples to support the narration - but they are very short examples. A few bars here and there is all you get.

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
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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:

A truly amazing artist
About time I said how good this recording is!
a voice teacher and early music fan
Stellar Performance and a Sign of the Greatness to Come
David Daniels: La voz del barroco.

Handel: Opera Arias; David Daniels
David Daniels , George Frideric Handel , Roger Norrington , and Orchestra of the Age of Enlightenment
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000FDND
Release Date: 1998-12-01

Tracks:

Serse: Recitativo accompagnato Frondi tenere
Serse: Larghetto Ombra mai fu
Giulio Cesare In Egitto: Aria Va tacito e nasacosto
Giulio Cesare In Egitto: Aria Al lampo dell' armi
Giulio Cesare In Egitto: Recitativo accompagnato Dall' ondoso periglio
Giulio Cesare In Egitto: Aria Aure, deh, per pieta
Tamerlano: Aria A dispetto
Ariodante: Recitativo E vivo anora
Ariodante: Aria Scherza infida
Giulio Cesare in Egito: Aria Cara speme
Giulio Cesare In Egitto: Aria L'angue offeso
Rodelinda: Sinfonia Pompe vane di morte
Rodelinda: Largo Dove sei?
Rodelinda: Aria Vivi, tiranno
Rinaldo: Largo Cara sposa, amante cara
Rinaldo: Aria Venti, turbini

Amazon.com

David Daniels seems to be the current leader of the opera world's March of the Falsettos--and with good reason: he's one of the first countertenors with enough beef in his voice to sound convincing in the heroic castrato roles of Handel's operas. His first solo disc is a collection of arias from just those roles--and an impressive debut it is. Daniels has the solid coloratura technique a Handel singer needs and a quick, narrow vibrato that can blend with Baroque instruments without alienating traditional opera buffs. (In fact, he sometimes sounds surprisingly like Marilyn Horne, one of his coaches.) Best of all, he has a musicality and dramatic sense that save the laments and slow serenades from dullness and the bravura showpieces from empty virtuoso display. The performances aren't flawless: Norrington's tempos are occasionally too quick for comfort (Daniels's and the listener's), and Daniels's vibrato sometimes spreads unattractively at the top of his range. He's at his best in the low alto roles that Handel wrote for the great castrato Il Senesino, such as the title roles in Giulio Cesare and Orlando. Let's hope we get to hear him in complete recordings of these operas soon. --Matthew Westphal

Customer Reviews:

A truly amazing artist.......2007-06-21

David Daniels is one of the finest singers alive. I heard him recently in the Met's Julius Caesar and was overwhelmed with his performance. He not only has a truly beautiful voice, he is a complete artist, both emotionally and technically. This recording does him justice, and the music is some of Handel's finest. We are very lucky to have Mr. Daniels.

About time I said how good this recording is!.......2006-10-02

I've had this CD for a few years now and it is one that I often play. David Daniels is a great singer and his interpretations of Handel's arias are sublime. He is one of the best countertenors currently working in the world and he has few peers - Andreas Scholl, Bian Asawa, Derek Lee Ragin, Daniel Taylor, Robin Blaze, Lawrence Zazzo, Philippe Jaroussky, Gérard Lesne, Bejun Mehta and, of course, James Bowman are his only serious rivals.

This collection is well selected and it includes popular arias as well as a few less well known ones.

The Orchestra of the Age of Enlightenment is in magnificent form and Sir Roger Norrington gets magic from the various sections of the orchestra - particularly the Baroque bassoons in "Scherza infida".

This album is both a showcase for the singer and the orchestra. It is vastly superior to most Handel opera aria collections.

I unreservedly recommend this superb disc to all music lovers.

a voice teacher and early music fan.......2006-06-24

David Daniels has devised this program so that it provided a view of Handel at the most significant stages in his London career as an opera composer. With his spectacular debut in England with 'Rinaldo'(1711), he established his ability to compose for the stage, and immediately followed it with 3 masterpieces: 'Tamerlano' and 'Guilio Cesare in Egitto', both from 1724, and 'Rodelinda' the next year. The unique 'Serse' (1738)is from the twilight of his operatic career, while 'Ariodante' shows a time when Handel and his London company was having difficulty competing with the rival Opera of the Nobility sponsored by the Prince of Wales.
Handel's greatest contribution to operatic history is his ability to rise above the sterertypical in his characters, endowing them with a total humanity by allowing them to experience the entire emotional gamut throught a variety of arias and recitatives. Moreover, David Daniels , being one of the finest interpreters of Handel is aware of the need not to be so blinded by the purity of the musical line as to forget what he is singing about. In fact, Handel often shaped the melodic line according to the degree a particular word was to be stressed. Handel was very aware of new devlopments, and styles and attitudes of his time, without ever betraying his own musical personality.
To my mind, Daniels is the consummate Handelian singer, and it is probably this music that he performs best! His delivery is highly dramatic as it should be, his diction absolutely flawless, his tone quality strong and sonorous; in short he is one good singer! It is indeed a very fine disc, not only because of the line-up but also because all arias are sung extremely well by him. I found myself focusing on his selection from "Serse": "Ombra mai fu". He sings this so much more emotionally and endows it with his own unique style. It's so well-done!!! My other favorite is from "Rinaldo": Venti,turbini". This displays his very skillful vocal technique in addition to his excellent diction. I really think he is the leading AMERICAN countertenor.

Stellar Performance and a Sign of the Greatness to Come.......2004-08-10

It is hard to imagine that there could be a finer recital disc of Handel's arias than this one reflecting the exquisite taste and powerful talent of David Daniels...unless of course, you count his splendid follow-up disc of Handel's lesser known oratorio arias released in 2002 (also strongly recommended). But the focus in this 1998 release is the rich music within six of Handel's best-known operas. Now nearly six years after its release, this recording not only holds up beautifully as an introduction to his prodigious talent, but also demonstrates his keen sense of adventure when his voice was at its most pure and unfettered.

Daniels' coloratura technique is amazingly seasoned even at this point of his career, and he approaches each aria in a singular fashion with that incredibly flexible legato that is literally breathtaking. Compare the impressive runs he employs on his rendition of "A dispitto" from "Tamerlano" to his seductive and sonorous tones on "Aure, deh, per pietà" from "Giulio Cesare in Egritto", and you get an idea of the range of emotion and technique of which Daniels is capable. Listening to the two arias from "Rodelinda" will make you recognize how over the course of twelve minutes, he has shown the two distinct sides of Bertarido - the mournful, dejected husband who goes unrecognized in "Pompe van di morte...Dove Sei?" and his enemy's savior at the end with "Vivi, tiranno".

The two arias from "Rinaldo", are also beautifully performed. Six years later, one can appreciate these versions within the context of Daniels' career, as he later recorded the title role in the famous 2000 recital recording of the opera with Cecilia Bartoli and yet again in the 2001 David Alden staging of the opera captured recently on DVD. I recommend getting your hands on all three and comparing the performances, as all are wonderful but quite different. Personally I think his voice ripened to just the right timbre in the Alden-staged version, especially during the opera's centerpiece, "Cara sposa, amante cara". Of all the stellar selections, it is really difficult to pick just one as a favorite, but his version of "E vivo ancora....Scherza infida" from "Ariodante" is especially moving in the way he sings of his plight in being humiliated by an unfaithful woman. Written for a castrato named Carestini in 1735, it is a sublime piece made all the more moving by the warm, round tones Daniels brings to it.

Sir Roger Norrington and the Orchestra of the Age of Enlightenment provide able accompaniment on period instruments, never intrusive or jarring to the ears. It is easy to tell from this recording why Daniels received so much hype for bringing the countertenor voice to the mainstream and why his career has been so meteoric since the release of this disc. Now you can see that it was more than hype...David Daniels is the real thing.

David Daniels: La voz del barroco........2003-10-26

Para los amantes del barroco en su estado puro es esencial tener este cd en el cual el gran contratenor DAVID DANIELS repasa las arias mas celebres de las operas de George Friederich Haendel. Daniels impone una voz bella, muy femenina, homogenea en todo el registro, sin problemas en los agudos, y que enamora nada mas oirla. Ademas canta las arias con un extraordinario sentimiento. ROGER NORRINGHTON dirige a la ORQUESTA DEL SIGLO DE LAS LUCES (que suena magnificamente con sus instrumentos originales) con gran conocimiento del estilo barroco, lo que termina de hacer de este disco una pieza fundamental para los amantes de la opera barroca, que afortunadamente son cada vez mas.

Average customer rating:

A voice teacher and early music fan
Best of the Best...Handelian Masters for the Uninitiated

Heavenly Handel: Arias and Duets

Manufacturer: Virgin Classics
ProductGroup: Music
Binding: Audio CD

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Sandrine Piau - Handel Opera Seria
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Vivaldi Edition: Arie d'Opera

ASIN: B0001MQKS8
Release Date: 2005-04-12

Tracks:

Frondi Tenere... - David Daniels
Ombra Mai Fu - David Daniels
Pompe Vane Di MOrte!... - David Daniels
Dove Sei, Amato Bene - David Daniels
Ma Che Parlo, Che Dico... - Veronique Gens
In Tanti Affanni Miei - Veronique Gens
Fra L'ombre E Gl'orrori - Laurent Naouri
Sorge Il Di - Laurent Naouri
Amor, Qual Nuova Fiamma... - Jill Gomez
La Tigre Arde Di Sdegno - Jill Gomez
Per Me Si Strugge Trasimede... - Jill Gomez
E Per Monti, E Per Piani, E Per Selve - Jill Gomez
Where Shall I Fly - Stephanie Blythe
Cantata HWV 166 - Gerard Lesne
As Steals The Morn Upon The Night - Lynne Dawson
How Silently, How Slyly - James Bowman
Upstart, Barbarian And Traitor - James Bowman
Flow My Tears - James Bowman

Tracks:

Fatto Scorta Al Sentier Della Gloria - Vivica Genaux
Fiacchero Quel Fiero Orgoglio - Vivica Genaux
Verdi Prati - Arleen Auger
Ombre Pallide - Arleen Auger
Venti, Turbini - David Daniels
Dolcissima Esilena... - Sandrine Piau
Prendi L'alma E Prendi Il Core - Sandrine Piau
Nasconde L'usignol - Antonio Abete
Nel Riposo E Nel Contento - Antonio Abete
Della Guerra La Caccia Ha Sembianza - Antonio Abete
Tanti Strali Al Sen, Duet HWV 197 - Derek Lee Ragin
Se 'L Mio Duol Non E Si Forte - Sophie Daneman
Caro Autor Di Mia Doglia - Paul Agnew
No, Che D'altrui Che Di Te - Paul Agnew
Dagli Amori Flagellata - Paul Agnew
Madre...Son Nata A Lagrimar - David Daniels

Customer Reviews:

A voice teacher and early music fan.......2006-02-07

This is an excellent sampling of Handel's music and it is indeed "heavenly". Much of the music in Handel's operas, cantatas and oratorios are wonderfully vivid pieces of musical painting, and show Handel's genius in a light that is somewhat unfamiliar to modern musicians. Such passages as the sleep of Somnus in 'Semele' and the moonrise in 'Ariodante', to name but two instances out of many,form an important link in the history of programme music. But to those who understand and enjoy the Handelian idiom its beauty appear eternally new, and its unfailing dignity and loftiness of style recall the words in which Edward FitzGerald summed up his opinion of Handel: "His is the music for a great active people." I have many of the discs already, but some of the songs were new to me for which I am grateful! Some of the high points for me: the duet from Guilio Cesare sung by contralto(Stephanie Blythe) and countertenor (Derek Ragin); the solo from Alcina sung by Arleen Auger(soprano)and David Daniel's rendition of "Ombra mai fu" from Serse. I have Andreas Scholl singing "Ombra" and I never realized how much more there is to that song till I heard Daniels sing it. Anyway this record is a great buy for Handelians.

Best of the Best...Handelian Masters for the Uninitiated.......2005-04-21

For those who would prefer their Handel in bite-size portions, this excellent two-disc set may do the trick. Virgin Classics has chosen stellar aria and duet selections from their extensive Handel discography (1978-2003) and in the process, come up with as definitive a collection of the prolific composer's work as any on the market now. With a running time of well over 2 ½ hours, this compilation covers a broad canvas drawn from some of Handel's finest Italian operas, such as "Rodelinda", "Giulio Cesare", "Rinaldo" and "Deidamia". Even more, there are selections from his English works ("Hercules" and "L'Allegro, il Penseroso ed il Moderato"), as well as miscellaneous vocal Italianate selections.

You know you're in for a world-class set when you have the amazing countertenor David Daniels book-ending the collection, beginning with his platinum-standard version of the much-covered "Frondi tenere...Ombra mai fù" from "Serse" and Bertarido's mournful "Pompe vane di morte!...Dove sei, amato bene" from "Rodelinda". And the set ends in a dream-like state with his wondrous Sesto/Cornelia duet with contralto Stephanie Blythe on the heartbreaking "Madre...Son nata a lagrimar" from "Giulio Cesare". In between is a veritable feast provided by a who's who among the world's leading Handelians. Highlights on disc one include soprano Sandrine Piau and alto Sara Mingardo melding effortlessly on the graceful and vocally challenging "Sorge il di" from the Neapolitan serenata, "Aci, Galatea e Polifemo". Blythe captures Dejanira's requisite madness beautifully in the air, "Where shall I fly?" from "Hercules". Countertenor Gérard Lesne does several thrilling turns on an entire Handel cantata, "Splenda l'alba in oriente". From "Giulio Cesare", legendary contralto Janet Baker contributes a heroically measured "How silently, how slyly", equally revered countertenor James Bowman glides over "Upstart, barbarian and traitor" with true panache, and soprano Valerie Masterson holds her own among these giants showing a diverse range of emotion on "Flow my tears" alternating easily between sonorous and vibrant.

Disc two starts with mezzo-soprano Vivica Genaux displaying some genuinely impressive runs on two arias from "Arminio", "Fatto scorta al sentier della gloria" and "Fiaccherò qul fiero orgoglio". Soprano Arleen Auger does a defiantly passionate turn on "Ombre pallide" from "Alcina", which compares favorably with Renée Fleming's more familiar version on Elektra. Daniels has yet another powerful vocal turn on the victorious "Venti, turbini" aria from "Rinaldo". Piau returns as well, this time intertwining atmospherically with mezzo-soprano Gloria Banditelli on the splendid "Prendi l'alma e prendi il core" from "Rodrigo". Operas are not the only source here. There is a charming duet between soprano Suzie LeBlanc and countertenor Derek Lee Ragin on the effusively Italianate "Tanti strali al sen", and a more dramatically diverse one between tenor Paul Agnew and soprano Patricia Petibon on "Caro autor do mia doglia" - both showcase yet another dimension of Handel to which I have not been exposed. Truth be told, if you enjoy these selections, you should purchase the original recordings, for example, Daniels' wonderful 1998 "Handel: Operatic Arias". But this will do in a pinch for the uninitiated who want an overview of Handel's musical genius. Trust me, with this stellar group of Handelians, you will beg for more.

Average customer rating:

More from the beautiful voice of this countertenor
Wonderful, thank you; but please, no more Handel recitals, okay?
Dreadful Senesino
Another Superb Concept for a Recital
something to tide Scholl fans over

Arias for Senesino

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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The Voice
Andreas Scholl - Ombra mai fu ~ Handel Arias from Giulio Cesare, Admeto, Radamisto, Rodelinda, Serse, Alcina

ASIN: B000A79NL0
Release Date: 2005-10-11

Tracks:

Bel Contento
Recitativo Accompagnato: Pompe Vane Di Morte!
Dove Sei?
Stelle Ingrate
Selvagge Amenita
Discordi Pensier
Del Ciel Sui Giri
Fosti Caro [
Recitativo Accompagnato: Dall'ondoso Periglio
Aure, Deh, Per Pieta
Al Lampo Dell' Armi
Cara Sposa
Va' Per Le Vene Il Sangue

Album Details

Senesino, the Voice that Inspired Handel's Greatest Operas Showpiece Arias by Handel, Lotti, Albinoni, Porpora and Scarlatti. One of the Truly Outstanding Voices of Today, Star Countertenor Andreas Scholl Celebrates One of the 18th Century's Greatest Vocal Superstars - the Remarkable Male Alto Known as Senesino. Senesino's Place in History was Secured by his Extraordinary Association with Handel, who after Travelling to Dresden to Hear Him, Brought Him to London to Join his Italian Opera Company - Where He was Greatly Celebrated by the Public, and Much Admired by the Ladies. Inspired by this Unique Singer, Handel Wrote for Him a Dazzling Succession of Operatic Roles which Showcased the Beauty and Power of his Extraordinary Vocal Personality. Scholl's Exquisite Voice, Beloved of Critics and Audiences, Pure, Penetrating, Virtuosic and Deeply Characterful, is a Remarkable Match for the Voice of Senesino.

Customer Reviews:

More from the beautiful voice of this countertenor.......2007-03-20

Theres something very choir-boy-esque about the former choirboy Andreas Scholl. He tends to look appealingly nerdy on most of his album covers, rather like Clark Kent I suppose, but all that goes out of the window when you listen to his voice.

I'm not particularly knowledgeable about classical music, I tend to just listen to stuff I like and ignore most of opera which is too, well, operatic and 'warbly' for me. However, Andreas Scholl's album 'Arias For Senesino' gives an opportunity to hear some of these arias, originally written for the famous castrato Senesino, in a plain and sweet style.

For those who like a lot of vibrato and dynamism in their singers, Andreas Scholl isn't for them. However for people like me who like to listen to pure, sweet sounds without too much distracting other stuff, this album works just fine. I know other reviewers have commented that his treatment of Handel is too dull but I found the whole album very enjoyable. I particularly liked the Dove Sei from Rodelinda (what can I say, I'm new to this stuff, and I love that song; I know it's been done to death but it's still great); there were a couple of tracks that were a bit too lively for my taste although no doubt displaying Scholl's real mastery of singing. This is an album that I know I will listen to multiple times and the more I listen the more intrigued I get by the countertenor voice - somehow a bit eerie when you listen to it, but wonderful too. I recommend this album.

Wonderful, thank you; but please, no more Handel recitals, okay?.......2006-08-27

This is an excellent recording of the well known and unknown repertoire of the alto castrato, Senesino. It is a marvellous recording and the singing is magnificent.

Andreas Scholl is still my favourite countertenor and he is in great voice on this recording. The singing is, as always, detailed, subtle, beautiful, stylish, informed and very moving. The 'Cara Sposa' here is a highlight - only David Daniels' impassioned interpretation on his complete recording of Rinaldo can hold a torch to Scholl's. I guess that "Cara sposa" is fast becoming to countertenors what "Casta Diva" is to sopranos?

I like this CD and I know that it is one I am going to listen to a lot in future. However, I already have many interpretations of the Handel arias on other discs by other singers. Scholl's recording is absolutely first class, don't get me wrong, but I just don't want to spend any more money on recitals of Handel arias. I would much rather a singer like Andreas Scholl took a leaf out of Cecilia Bartoli's book (she's another Decca artist, BTW) and record some more interesting unknown repertoire. There must be thousands of wonderful male alto arias in operas by Johann Joseph Fux, Alessandro Scarlatti, Antonio Caldara, Antonio Vivaldi and many, many others gathering dust on library shelves!

I can not and will not buy another recital disc of Handel opera arias - this is well and truly my last, ever!

However, this is a bloody good disc! Andreas Scholl is a living treasure, that's for sure.

Dreadful Senesino.......2006-03-26

First of all,Decca engineers insist on to differentiate "their" Scholl's voice from that more sweet,resounding previous Harmonia Mundi cd's like Bach Cantatas Solo,English Folksongs and so on where it was a pleasure to hear this singer.Even orchestra Bizantina could be better recorded;maybe Milano Auditorium hasn't fine acoustics.However,the same happens on "Heroes" and "Banquett".In this Senesino combo just here,Scholl's voice sounds rough and unpleasant,the top of his range excessive and satured.Second of all,in my opinion,opera isn't his confort zone for good.I believe that as a chorister boy,he grew up in that german musical territory singing sacred music by Buxtehude,Bach,where he did his best on recording.In this cd,I heard his worse;a rugged vocalization plentiful in ha-ha-ha,absolutely abusive that seems dreadful to me("Al lampo dell'armi" for instance),his vocal colours sounding like croacks sometimes,incongruous and dramatically unfruitful attempt to perform repertoire previously recorded by himself like it was a new,fresh one("Dove sei","Aure,deh,...").I'm sorry;I know Scholl fans are very zealous on their idol but I have heard much better Senesinos by Derek Lee Ragin,Daniels,Minter,Gall and so on.

Another Superb Concept for a Recital.......2006-02-18

Andreas Scholl has become one of the top stars in opera and concert stage and is probably the best known of the growing cadre of countertenors. He is well represented in the recorded repertoire and yet he continues to find platforms for exploring the music written for this particular voice.

In this fine recital Scholl elects to sing the arias written for the famous countertenor Senesino, a favorite singer of Handel and the one for whom many of the countertenor roles were written. In top form (which is to say in stunning vocal estate and exceptionally fine technique) Scholl offers arias from Handel's operas 'Flavio, Rè di Longobardi', 'Rodelinda, regina de' Langobardi', 'Giulio Cesare in Egitto', and 'Rinaldo' along with Tomaso Albinoni's operas 'Astarto'and 'Engelberta', Scarlatti's 'Carlo re d'Allemagna', with arias by Lotti and Nicola Porpora. It is a splendid display of style and bravura. Scholl is ably accompanied by the Byzantine Academy conducted by Ottavio Dantone.

Though some will contest a few of the choices of arias included here, Scholl's sensitive programming is another aspect of his devotion to his art. This is a major album full of riches. Highly recommended. Grady Harp, February 06

something to tide Scholl fans over.......2006-01-12

There are certainly some Scholl recordings that I anticipate. I'd love to see him record another Handel oratorio with McCreesh, a full-length Handel or Vivaldi opera, a recital of Vivaldi operatic arias, among others. Are you listening, Decca?

The last Scholl recital, Arcadia, featured arias by lesser-known baroque composers. This time around, it seems that Decca wanted a recital that had broader appeal, hence the idea of a Senesino tribute.

The recital begins with two Handel arias, the first being Bel Contento. This is the Scholl we all know and love, his voice as lovely as the springtime. His ravishing tonal beauty is in abundance, and the Accademica Bizantina provides wonderful support.

After such a nice introduction, Scholl coasts through Pompe Vane / Dove Sei?, undoing some of his faultless technique through some rather bland, white-voiced singing. To hear the full potential of this aria, we must turn to Marilyn Horne's interpretation. If you have the chance, listen to her exquisite, fluttering recording of the aria, so different from the go-for-broke Marilyn to whom we are so accustomed.

Scholl is undoubtedly more excited at the prospect of capturing the non-Handel arias. For this reason, he really catches fire in Stelle Ingrate. One of Scholl's greatest vocal qualities is his peerless staccato trill, and Stelle Ingrate is the perfect vehicle to wow us with. We also get more of a sense of his vocal heft. Thankfully, we have a block of five non-Handel arias that are infinitely better for his voice. My other favorite is Del Ciel Sui Giri. The extended introduction is a fascinating blend of horns and strings, showcasing Accademica Bizantina's talents. In the aria proper, Scholl treats us to some amazing, rapid passagework in the repeat of the A part. This is, hands down, the reason I adore Scholl so much.

Scholl revisits Handel with Dall'ondoso Periglio / Aure, Deh, Per Pieta. His delivery of the recitative is more dramatic than before, especially on phrases such as, "Voi dite che io son morto!" Also, he uses a lower register, to thrilling effect. Unfortunately, he confounds us in the aria section. Attempting to sound more dramatic, his fits of excitement keep yielding to that all-purpose beauty that seems to plague him in Handel. In all fairness, this is still Scholl, but it frustrating to hear him hint at dramatic prowess, without taking the plunge.

Al Lampo Dell'Armi is taken at a lightening-quick pace. This would not work on stage, but in the confines of a recital, it becomes a vanity piece for which to showcase again his almighty staccato trill. It beguiles you to hear Scholl unfazed, even at such quick tempi. The purists will cry foul; I, for one, do not think of baroque music as a sacred cow. A little experimentation now and then, in the hands of such a gifted singer, is not a bad thing.

Unfortunately, this bit of bravura is followed by the clunker of the whole set, Cara Sposa. Granted, many great artists have recorded well-known arias that were not suited for their voice, against better judgement. I think of Maria Callas singing the bolero from I Vespri Siciliani, Birgit Nilsson singing O Don Fatale, or Joan Sutherland singing the Queen of the Night's first aria. Such recordings are for the fans only. I, for one, cannot suspend disbelief, where Scholl and Cara Sposa are concerned. In fact, I have yet to listen to the whole of the aria. It doesn't help matters that the PI support is so cautious and polite. Gimme Marilyn Horne, folks!

Thankfully, that woefully misguided interpretation is followed by the melancholy Va Per Le Vene Il Sangue. Again, we are given evidence of how divine Scholl can be when an aria inspires him.

Average customer rating:

Kathy Rocks Ever!
A wide presentation of the work of an amazing artist
A Great Coloratura Soprano
Great compilation of Kathleen Battle's work
Beautiful Voice

The Best of Kathleen Battle

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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So Many Stars
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ASIN: B00068CVF8
Release Date: 2004-11-09

Tracks:

Summertime
I loves you, Porgy
Porgi amor
Welche Wonne, welche Lust
S'altro che lagrime
Una donna a quindici anni
Depuis le jour
E pur cosi / Piangeri la sorte mia
Oui! pour ce soir... Je suis Titania
Ah! tardai troppo... O luce di quest'anima
4. Pie Jesu (Sopran)
Voices of Spring, Op.410 (Frohlingsstimmen) - vocal version
Swing Low, Sweet Chariot / Ride Up in the Chariot
Witness "Oh, Lord, what manner of man is dis?"
Talk About a Child
He's got the whole world in His hands

Customer Reviews:

Kathy Rocks Ever!.......2006-01-01

Oh,yeah!Also here in Brazil she commanded,complained,got her tantrums as well but,she is Kathy;highly gifted,charmingly glamourous,her elegant golden singing beautifully soaring over brazilian audiences and so on.About this cd,I would prefer a completely new one.However,this is a gorgeous compilation,just perfect to Battle beginners or her fans,especially these spirituals that belongs incontestablely to her heavenly throat.I hope much more from Miss Battle just 'cause she is a great performer,in fact nobody or nothing couldn't denies that no matter she's doing backstage.Cowardly,poisonous "kid's rewiews" show us solely how empty is this quarrel.I hope a DG reissue of her beloved,out of print Schubert recital as well.

A wide presentation of the work of an amazing artist.......2005-12-23

This CD provides a sampling of Kathleen Battle's voice and interpretive abilities from coloratura virtuousity (Voices of Spring) to the simple, heartfelt spiritual (Talk about a child).

First of all, there's THAT voice. You hear a voice that is uniquely angelic and capable of expressing a wide range of moods. You hear a voice that glitters like a diamond, skips happily and effortlessly (and in impeccable tune) from note to note like it's nobody's business, one that that reminds you of moonbeams and early morning dew on pink rose petals. You've simply got to her it to believe it.

On this CD, the listener is provided with the the works/composers for which she's well known: Handel Opera (E pur cosi / piangero la sorte mia), Mozart Opera (S'altro che lagrime), Bel Canto Opera (Ah, tardai troppo...), French Opera (Depuis le jour), spirituals, and a few popular songs for sopranos such as Gershwin's Summertime and Faure's Pie Jesu

If you're just popping the CD in, try: (1) Ah, tardai troppo, (2) Voices of Spring, (3) Talk about a child, (4) I loves you, Porgy, and (5) Pie Jesu.

I suppose if you are a fan of heavy, dramatic voices, Kathleen Battle may not be to your liking. But I suspect that if you listen to her, you still might be amazed...

A Great Coloratura Soprano .......2005-04-03

Coloratura sopranos are a dying breed today. The era of Lily Pons and Beverly Sills is long gone and opera audiences favor a more "heavy" coloratura sound- or at least a full lyric one, such as the voice types of Kiri Te Kenawa, Carol Vanness and Renee Fleming. Kathleen Battle was in many ways an artist who payed homage to the coloratura queens of olden days. Only Natalie Dessay, of late, represents that kind of singer. much This album showcases her best work, and she is in fine voice, bringing a luminous and sunny quality to her interpretations, while keeping the dramatic appeal of the text. She was at best a Handel/Mozart/Strauss/Gounod singer, and never fared well in the more dramatic reperotoire of Verdi or Puccini heroines. She never sang Madame Butterfly, which if she had gone through training, she could have nailed, especially because her dramatic aspirations coupled with her soft, vulnerable sound would have suited her as Ciao Ciao San, in the way that Ying Huang interpreted the role. Verdi opera must have frightened her and she could never dream of taking on the roles that Leontyne Price performed, surely an influence in her student days made all the more credible because Leontyne Price was a "sister" African-American. So Leonora, Aida and Suor Angelica were out of her reach. While she sang with Jessie Norman in concert and recitals (like the Spirituals Concert), she must have been secretly or overtly ? jealous of the fact that Jessye Norman had a voice that could swallow the world!! A big, beautiful voice such as Ms. Norman's is closer to the true goddesses of operas in the tradition of Maria Callas, while Battle is more of the "tiny, bright, canary" voice. She ranks among the best of the lighter sopranos- Beverly Sills, and like Sumi Jo today. Her fellow co-artists used to call her the "Singing Mosquito". But she is marvelous in singing Handel oratorio(the only times I've heard her sing live), Mozart- Sussannah, Zerlina, the Countess in Figaro, Gounod- Juliette, Bizet- Micaela, but could never truly master the more difficult Mozart heroines- Dona Ana in Don Giovanni or Fiordiligi in Cosi Fan Tutte or even Konstanza in Die Entfurung, though try she did. In Strauss operas, she made a fine Zerbinetta, though she always oozed a confidence that made it seem as if these difficult pieces were a piece of cake for her. Some arias in this collection appear that way too.

Kathleen Battle has long since disappeared from the opera world, singing off and on. Her last singing engagement was for the soundtrack to the Japanese action saga "House of Flying Daggers" in which she sings in a very Japanese/poetic style. Before that she sang in Mythodea opposite Jessie Norman in a massive choral work by Vangelis, and also in Disney's Fantasia 2000. Her constant bitchiness, diva antics and disrespect to conductors and singers became too much and finally Joseph Volpe fired her from the Met. She had stayed there for so long because James Levine took a shine to her. As a singer, she was a perfectionist and in her body of work it shows. But she displayed a nasty diva temperament that does not sit well today. In the 80's, she would come to rehearsals late, would criticize everyone from conductor to costuma makers and even once disrespected the much older and experienced Rosalind Elias, a beloved mezzo at the Met. While I think that Volpe did the right thin in firing Battle, I think that Battle's voice is glorious and would buy her albums, even if she mostly poses as if she were in Vogue cover shots.

Great compilation of Kathleen Battle's work.......2005-03-26

This is a great compilation CD of recordings made by Battle, which are currently deleted by Universal Music.
The selections are first rate and capture the artistry of Kathleen Battle perfectly, a shimmering, silvery, clean and clear voice which has captivated millions of people worldwide

Beautiful Voice.......2005-02-24

I find it hard to give anything under 5 stars for any work including Miss Battle. Her technique and mastery of the female voice is quite remarkable. I am a HUGE fan of the soprano voice and I have found no one who posses the talents, skills, and interpretations of Battle. I would like to have seen more variety in this compilation CD. Her Rosina, Zerbinetta, Semele, other such roles were obviously ignored in the making of this CD. I think anyone will be hard pressed to find any lyric/coloratura soprano who amounts to the skill level of Miss Battle. Talent is talent, and she's got plenty of it. A person's attitude has nothing to do with their abilities as a performer, and I am tired of people knocking Miss Battle because of the stigma with which she is attached. Personally, she has never done anything to me nor the number of others who criticize her for her actions which took place over a decade ago. You cannot say that this woman does not posses mad skills. She is a lovely woman who has accomplished great things. I would gladly buy any CD that carries the name "Kathleen Battle".

Average customer rating:

One of Handel's best Operas. Give me his Oratorios.
A fair treat.....
Oh well...
MYTHICAL RECORDING
A tough choice... Jacobs or Minkowski?

Handel - Giulio Cesare / Jacobs

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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ASIN: B000027O71
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Tracks:

Ov - Con Koln/Rene Jacobs
Act 1, Scene 1. Cesare E Curio: Viva Il Nostro Alcide - Con Koln/Rene Jacobs
Act 1, Scene 1. Cesare E Curio: Aria: Presti Omai/Scene 2. Cornelia, Sesto E Detti - Jennifer Larmore
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Act 1, Scene 4. Curio, Sesto E Cornelia: Aria: Priva Son D'Ogni Conforto - Bernarda Fink
Act 1, Scene 4. Curio, Sesto E Cornelia: Aria: Svegliatevi Nel Core - Marianne Rorholm
Act 1, Scene 5. Cleopatra, Poi Nireno, E Dopo Tolomeo: Aria: Non Disperar - Barbara Schlick
Act 1, Scene 6. Tolomeo, Ed Achilla: Aria: L'Empio, Sleale - Derek Lee Ragin
Act 1, Scene 7. Cesare, E Poi Curio Che Introduce Cleopatra E Nireno: Aria: Alma Del Gran Pompeo - Jennifer Larmore
Act 1, Scene 7. Cesare, E Poi Curio Che Introduce Cleopatra E Nireno: Aria: Non E Sivago - Jennifer Larmore
Act 1, Scene 7. Cesare, E Poi Curio Che Introduce Cleopatra E Nireno: Aria: Tutto Puo - Barbara Schlick
Act 1, Scene 8. Cornelia, E Poi Sesto; Cleopatra E Nireno In Disparte: Aria: Nel Tuo Seno - Bernarda Fink
Act 1, Scene 8. Cornelia, E Poi Sesto; Cleopatra E Nireno In Disparte: Aria: Cara Speme - Marianne Rorholm
Act 1, Scene 8. Cornelia, E Poi Sesto; Cleopatra E Nireno In Disparte: Aria: Tu La Mia Stella - Barbara Schlick

Tracks:

Act 1, Scene 9. Cesare, Tolomeo Ed Achilla: Cesare, Alla Tua Destra/Aria: Va Tacito/Scene 10... - Derek Lee Ragin/Jennifer Larmore
Act 1, Scene 11. Cornelia, Sesto, Ed Achilla: Aria: Tu Sei Il Cor - Furio Zanasi
Act 1, Scene 11. Cornelia, Sesto, Ed Achilla: Son Nata A Lagrimar - Bernarda Fink/Marianne Rorholm
Act 2, Scene 1. Cleopatra, E Nireno: Eseguisti, O Niren - Barbara Schlick
Act 2, Scene 2. Nireno, E Poi Cesare: Sinf - Con Koln/Rene Jacobs
Act 2, Scene 2. Nireno, E Poi Cesare: Aria: V'Adoro, Pupille - Barbara Schlick
Act 2, Scene 2. Nireno, E Poi Cesare: Aria: Se In Fiorito - Jennifer Larmore
Act 2, Scene 3. Cornelia, E Poi Achilla - Bernarda Fink/Furio Zanasi/Derek Lee Ragin
Act 2, Scene 4. Cornelia, Tolomeo: Aria: Se A Me Non Sei Crudele - Furio Zanasi
Act 2, Scene 4. Cornelia, Tolomeo: Aria: Si Spietata/Scene 5. Cornelia, E Poi Sesto - Derek Lee Ragin
Act 2, Scene 6. Nireno, E Detti: Aria: Cessa Omai - Bernarda Fink
Act 2, Scene 6. Nireno, E Detti: Aria: L'Angue Offeso - Marianne Rorholm
Act 2, Scene 7. Cleopatra, E Poi Cesare: Aria: Venere Bella - Barbara Schlick/Olivier Lallouette
Act 2, Scene 8. Curio, E Detti: Aria: Al Lampo Dell' Armi - Jennifer Larmore

Tracks:

Act 2, Scene 8. Curio, E Detti: Che Sento?/Aria: Se Pieta - Barbara Schlick
Act 2, Scene 9. Tolomeo, Cornelia, E Poi Sesto: Aria: Belle Dee/Scene 10. Achilla, E Detti - Derek Lee Ragin
Act 2, Scene 11. Sesto, E Cornelia. Aria: L'Aura Che Spira - Marianne Rorholm
Act 3, Scene 1. Achilla: Aria: Dal Fulgor - Furio Zanasi
Act 3, Scene 2. Tolomeo, Cleopatra: Sinf - Con Koln/Rene Jacobs
Act 3, Scene 2. Tolomeo, Cleopatra: Aria: Domero - Derek Lee Ragin
Act 3, Scene 3. Cleopatra, Solo Con Guardie: E Pur Cosi/Aria: Piangero - Barbara Schlick
Act 3, Scene 4. Cesare, Poi Sesto, Nireno, Ed Achilla: Aria: Dall' Ondoso/Aure, Deh, Per Pieta - Jennifer Larmore
Act 3, Scene 4. Cesare, Poi Sesto, Nireno, Ed Achilla: Aria: Quel Torrente - Jennifer Larmore
Act 3, Scene 5. Sesto, E Nireno: Aria: La Giustizia - Marianne Rorholm
Act 3, Scene 6. Cleopatra, E Poi Cesare: Voi, Che Mie Fide Ancelle - Barbara Schlick
Act 3, Scene 6. Cleopatra, E Poi Cesare: Aria: Da Tempeste/Scene 7. Cornelia, E Tolomeo - Barbara Schlick
Act 3, Scene 8. Sesto, E Detti: Aria: Non Ha Piu - Bernarda Fink

Tracks:

Act 3, Scene Ultima. Cesare, Cleopatra, Curio, Nireno, Sesto E Cornelia: Sinf - Con Koln/Rene Jacobs
Act 3, Scene Ultima. Cesare, Cleopatra, Curio, Nireno, Sesto E Cornelia: Caro/Bella - Barbara Schlick/Jennifer Larmore
Act 3, Scene Ultima. Cesare, Cleopatra, Curio, Nireno, Sesto E Cornelia: Ritorni Omai - Con Koln/Rene Jacobs
Appendix: Aria: Qui Perde Un Momento - Dominique Visse

Amazon.com essential recording

This is one of Handel's most powerful scores--in which history, wonder of wonders, is hardly mangled at all--and Jennifer Larmore's singing in the title role, heading a strong cast, makes this version a must-own for anyone with an interest in this music. Conductor René Jacobs has produced what amounts to a critical edition of Handel's score and has found the singers to do it justice. Barbara Schlick is a strong, believable Cleopatra, and Derek Lee Ragin's slightly whiny timbre is well-suited to the character of Ptolemy. Jacobs leads this dramatically engaging performance with thoughfulness and energy. --Sarah Bryan Miller

Customer Reviews:

One of Handel's best Operas. Give me his Oratorios........2006-12-19

'Giulio Cesare' by Georg Friedric Handel is, according to the book of notes accompanying this recording of the libretto Italian opera is one of Handel's best. From what I've heard of Handel's operas, I certainly agree, escept that if I really want to listen to an Italian opera, I would go to Mozart or Verde (mostly Mozart). But I can't argue that this retelling of the Caesar and Cleopatra story is not a very nice addition to that heap of art.

The most interesting thing about this performance is that Jennifer Larmore does one of her 'trouser' roles here, singing the part of Julius Caesar. This fits the history of the work, as I believe a woman also played this part in the premier of the work.

Speaking as an amateur who is only interested in what sounds good to me, I tend to prefer Handel's oratorios to his operas, althought the arias here are clearly better than some of the dullish recitivs in some oratorios. But, I still believe Handel could turn Johnson's dictionary into a choral work and make it sound good.

So, Look to Judas Maccabacus' and 'Alexander Balus' if you like Handel's choral works.

A fair treat............2006-09-08

I'm always interested in how others review music, particularly opera, which I, among many others, consider the ultimate classical music experience, i.e., it has EVERYTHING.

Aside from a few quarrels with a singer or two - no big deal - I would rather have had this on three discs and neglected the 4'25" it took for the Nireno aria. My figuring may not be correct (someone will inform me), but I believe without that last aria, the opera wold have fit on three. Having said THAT, I have to assume that the distribution would have been off and made this recording less than it is in this state. However picky I appear (okay, I'm picky), the fourth disc contains a mere 23'25".

Oh well... .......2006-03-11

I bought this because I love Rene Jacobs. As expected, conducting is superb! Rene Jacobs can conjure a great performance out of any cast, but unfortunately - not this time. Overall cast I dissent (to many squeaky sopranos, if you ask me), but what happened to Sextus! The heroic and passionate Sextus! Not even Rene Jacobs could pull Sextus out of Marianne Rorholm. It sound like the role is just out of her vocal and emotional range. She killed Sextus!
Please, record Vicica Genaux in this role!
I'd recommend Julius Caesar with Ferdinand Leitner, Fritz Wunderlich, Hans Bruno Ernst. It is in German and sound a little weird, but in my humble opinion the cast is much more suitable.

MYTHICAL RECORDING.......2006-02-25

Jacobs is very successful in making this a truely dramatic theatrical performance and not just a series of beautiful da capo arias. This is the complete opera without any cuts. Jennifer Larmore is miraculous as are Barnarda Fink and Derek Lee Ragin. This will probably remain the definitive recording of this opera for a long time.

A tough choice... Jacobs or Minkowski?.......2005-08-19

I have owned Minkowski's about a year, maybe more. Being a huge fan of Handel's operas&oratoriums, this opera moved, thrilled and got me high from the first time I heard its music. Minkowski was a great election for the first time ever hearing. Now I've grown deeply in love with the composition I thought it was the time to give it a try with beloves Larmore in the cast. So I bought the Jacob's. To start with, the tempos are quite more on the slow side, and some time too much on the quick side (the virtuosity of Concerto Köln has to be shown), while Minkowski tempos are more balanced. I like better Larmore (Jacob=J)as Caesar, though Marijana Mijanovic (Minkowski=M)does a superb one but her voice is too "countertenor-like" when compared whith Larmore's. But I could be biased because I do not like countertenors. Even being this the case, I like Mijanovic voice quite a lot though more androginous, and I liked her very much in her Caesar performance. I find Cornelia better represented in Bernarda Fink (J) than in Charlotte Hellenkant (M)-she is too wheezy for me, and though Marianne Rorholm (J)misses the words in the opening aria of Sesto, I find her more credible as Sesto than Anne Sofie von Otter. Sorry, because I like von Otter A LOT, but she's too on the lighter side when singing Sesto while Rorholm's voice conveys more character. I like best Magdalena Kozena's (M) voice as Cleopatra than Barbara Schlick, though the latter is the winner when it comes to expressivity. To my despair, there are also countertenors in the Jacob version... The two Ptolomeos are ok by me, since I don't like countertenors... Nireno, well, I couldn't say and I won't bother.
BUT THE BASSES!!! Well, Minkowski's choice is by far the better. Alan Ewing is a powerful Achilla in the whole range, and his lower notes are powerfull and audible as well (Aria Tu sei cor di questo core, for example), while Furio Zanasi (J) has the spirit but lacks the same power as Ewing, being compared in the same aria. Same could be said about the Curio character, Jean-Michel Ankaoua (M) surpasses Olivier Lallouette (J), though both of them are really good.
Don't get me wrong, it is really a tough choice. The ideal would be a mixture of both!!! Can you buy both?

Stephanie Blythe - Handel & Bach Arias / David Daniels · Ensemble Orchestral de Paris · John Nelson

Average customer rating:

When I directed her in muscials in High School, I knew she was special
What a superb CD!!
A Blythe Spirit and a Magical Duet With David Daniels
La Reina!
Solid baroque

Stephanie Blythe - Handel & Bach Arias / David Daniels · Ensemble Orchestral de Paris · John Nelson
George Frideric Handel , Johann Sebastian Bach , John Nelson , Stephanie Blythe , David Daniels , and Ensemble Orchestral de Paris
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Arias | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Brahms: Alt-Rhapsody; Wagner: Wesendonck-Lieder; Mahler: Der Abschied
Handel: Opera Arias; David Daniels
Sento Amor; David Daniels;
Handel: Giulio Cesare in Egitto
Songs by Mahler, Handel & Peter Lieberson

ASIN: B00005A9NK
Release Date: 2001-11-06

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.

Sumi Jo - La Promessa / Vincenzo Scalera

Average customer rating:

Slow, tuneless, boring.
Bettered by the real thing
Sumi Jo tackles Belcanto
A promise fulfilled
Loverly voice, perfect technique

Sumi Jo - La Promessa / Vincenzo Scalera
Vincenzo Bellini , George Frideric Handel , Alessandro Scarlatti , Domenico Scarlatti , Giuseppe Verdi , Giuseppe Sarti , Christoph Willibald Gluck , Salvator Rosa , Giuseppe Giordani , Francesco Paolo Tosti , Antonio Cesti , Gioachino Rossini , Sir Julius Benedict , Stefano Donaudy , Wolfgang Amadeus Mozart , Antonio Caldara , Giovanni Paisiello , Sumi Jo , and Vincenzo Scalera
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

General | Soundtracks | Styles | Music
Similar Items:

Sumi Jo sings Mozart
Sumi Jo - Virtuoso Arias ~ Verdi, Rossini, Donizetti, Meyerbeer
Sumi Jo - Prayers / James Conlon
Sumi Jo - Bel Canto / Arevalo · ECO · Carella
French Coloratura Arias

ASIN: B00000AEKD
Release Date: 1998-09-15

Tracks:

Caro mio ben
Lungi dal caro ben
Malinconia, ninfa gentile - Bellini
Qual farfalletta amante - D. Scarlatti
Ad una stella - Verdi
Lascia ch'io pianga - Handel_
Per pieta, bell'idol mio - Bellini
O del mio dolce ardor - Gluck
Star vicino
Se Florindo e fedele
Non t'amo piu
Intorno all'idol mio
La promesa - Rossini
La Capinera
O del mio amato ben
V'adoro pupille - Handel_
Vaghissima sembianza
Ridente la calma - Mozart
Alma del core
Nel cor piu non mi sento

Customer Reviews:

Slow, tuneless, boring........2007-07-13

This, that horrible collection of pop tunes, her prayers and her xmas carols are the Sumi Jo recitals I deliberately did NOT buy. Until the bitter end, I suckered to the reviews, craved some more of that wonderful singing and bought the pop crap and now this. I do not like art songs (except some Mozart), particularly not art songs to a piano accompaniment. If you do (and if you say you do, I'll doubt you), dig in, this is your meat and potatoes. Her voice is beautiful (it always was), the music is not.

Bettered by the real thing.......2007-03-21

I discovered the wonder that is Sumi Jo after I kept remarking to myself "Wow", every-time I played an operatic compilation and this one track came around - same track each time - hers! So, I sought to hear more and bought this CD, for no other reason than it was the only one Tower stocked. Sadly it seems that Sumi Jo is a little slow in receiving her rightful invitation to stand on the main podium. In my opinion, she is about as good as it gets, and certainly has a rightful place alongside the greats of Callas, Horne, Hendricks et al.
Well, what can I say, I love this CD, her voice is fluid and elegant, sharp but not cutting, well formed and with a force that can be projected or held, it's a wonderful CD on so many levels and one I have never grown tired of listening to each morning, what a great way to start the day! As an introduction to operatic arias I would certainly recommend this as I am sure it would surprise and enchant even the most hardened of sceptics who think that "Opera is not for me", or that there was no life after Callas.
This afternoon I was very fortunate to have 5th row seats at her spring recital, here in Japan, and what a truly awe-inspiring performance. A genuine world-class soprano Sumi Jo certainly is. Today's repertoire ran from Handel, Vivaldi, Benedict, Strauss, Bellini to Verdi. Singing comfortably in FOUR languages she delivered a performance that the CD in now way prepared me for. A performance that brought her four encores, numerous standing ovations and thunderous applause from a usually reserved (Japanese) audience. Besides her obvious musical talents I have to say that I found her to be such a marvellously warm and appreciative human being who was genuinely appreciative of her audience and I can't wait to get out there and listen to more of the joy that is Sumi Jo.

Sumi Jo tackles Belcanto.......2006-11-03

Coloratura soprano Sumi Jo delivers another delightful album, focusing on arias and pieces from the Italian chamber music composers (Giordani, Bellini, Rosa, Caldara, Cesti, etc.). While I believe Sumi Jo is better-suited to the French composers (see her album "Les Bijoux" on the Erato label), she proves her mettle here by delving wholeheartedly into a section