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Handel's Finest Arias for Base Voice, Vol. 2
Жанр: Classical vocal
Страна-производитель диска: Made in France
Год издания диска: 2018
Издатель (лейбл): Hyperion
Номер по каталогу: CDA68152
Дата записи: 2016
Аудиокодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 01:17:01
Источник: релизер
-источник/ник/другое: makdelart, подарок; Caterina Sforza - тяжелейшая работа с cue (два часа), доп. сканы
: да, полных авторский буклет jpeg, 20 страниц + web pdf буклет
Треклист:
1. Siroe, Re di Persia, HWV24 - Act 3 Scene 4. Aria: Gelido in ogni vena (Cosroe) [5:02]
2. Esther, HWV50a - Act 3 Scene 2 No 2. Arioso: Turn not, O Queen, thy face away (Haman) [2:50]
3. Athalia, HWV52 - Act 1 Scene 1. Air: When storms the proud (Abner) [3:11]
Belshazzar, HWV61
4. Act 1 Scene 6 No 9a. Accompagnato: Oh, memory! (Gobrias) [0:46]
5. Act 1 Scene 6 No 9b. Air: Opprest with never-ceasing grief (Gobrias) [4:01]
6. Handel; Porpora: Catone, HWVA7 - Act 3 Scene 4. Aria: È ver che all'amo intorno (Cesare) [7:55]
Concerto grosso in F major, HWV315 Op 3/4a
7. Movement 1: Andante - Allegro - Lentamente [3:57]
8. Movement 2: Andante [1:56]
9. Movement 3: Allegro [1:32]
10. Movement 4: Minuetto alternativo [3:08]
11. Tolomeo, Re di Egitto, HWV25 - Act 2 Scene 6. Aria: Piangi pur (Araspe) [2:59]
12. Athalia, HWV52 - Act 2 Scene 1. Air: Ah, canst thou but prove me! (Abner) [3:41]
Nell'africane selve, HWV136a
13. No 1. Recitativo: Nell'africane selve [1:35]
14. No 2. Aria: Langue, trema, e prigioniero [6:31]
15. No 3. Recitativo: Nice, là fra confine [1:20]
16. No 4. Aria: Chiedo amore [4:30]
Joshua, HWV64
17. Part 2 No 04. Recitative: The walls are levell'd (Caleb) [0:30]
18. Part 2 No 05. Air: See, the raging flames arise (Caleb) [3:19]
19. Esther, HWV50a - Act 3 Scene 2 No 5. Air: How art thou fall'n from thy height! (Haman) [6:38]
20. Siroe, Re di Persia, HWV24 - Act 2 Scene 7. Aria: Tu di pietà mi spogli (Cosroe) [4:27]
21. Rinaldo, HWV7a - Act 1 Scene 4. Aria: Vieni, o cara (Argante) [4:16]
22. Joshua, HWV64 - Part 3 No 04. Air: Shall I in Mamre's fertile plain (Caleb) [3:08]
Исполнители
George Frideric Handel (1685-1759)
Handel's Finest Arias for Base Voice, Vol. 2Christopher Purves (baritone)
[u]Arcangelo[/u]
Jonathan Cohen (conductor)
Recording Date: February 26, 2016 - February 28, 2016
Recording Location: St. Jude-on-the-Hill, Hampstead Garden Suburb, London
Audio CD (29 Jun. 2018)
About
Christopher Purves is renowned for both the powerful sense of dramatic conviction he brings to everything he undertakes, and for a vocal technique which must be heard to be believed. From Handel’s early cantata to selections from Italian opera and English oratorio, this is a recital from a very special singer indeed.
Review
AllMusic Review by James Manheim [-]
There's no shortage of Handel aria recitals these days, especially in Britain, but this one by bass baritone Christopher Purves stands out from the crowd in several respects. First of all, it is rare in collecting arias for bass voice, which was, in Handel's time as it was later on, generally associated with a few fixed and generally negative character types (tyrants, rogues, repressive patriarchs). Second, it's a very pleasantly varied collection of tunes, including displays of brilliant passagework, out-of-the-norm writing in service of characterization (Fra l'ombre e gl'orrori, from Aci, Galatea e Polifemo, track 4), and high climactic drama (the big, three-part Revenge, Timotheus cries, from Alexander's Feast, track 19, is a familiar example). Finally, Purves unearths some rarely heard pieces and programs them intelligently. When did anyone last year anything from Muzio Scevola, or Riccardo Primo, rè d'Inghilterra, which must have pleased London audiences in 1727 despite its Italian-language text. Purves does not have the biggest voice in the bass baritone universe, and there could be a bit more sound in the very low notes. But the dimensions of the music are right for the period. He's pleasingly accurate in the passagework, and he's a real actor who makes these potentially stilted characters come alive. Listeners will want to hear Purves in a small production of one of these operas after hearing this album, preferably accompanied by the strong historical-instrument group Arcangelo under Jonathan Cohen, as he is here.
Жанр: Classical vocal
Страна-производитель диска: Made in France
Год издания диска: 2018
Издатель (лейбл): Hyperion
Номер по каталогу: CDA68152
Дата записи: 2016
Аудиокодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 01:17:01
Источник: релизер
-источник/ник/другое: makdelart, подарок; Caterina Sforza - тяжелейшая работа с cue (два часа), доп. сканы
: да, полных авторский буклет jpeg, 20 страниц + web pdf буклет
Треклист:
1. Siroe, Re di Persia, HWV24 - Act 3 Scene 4. Aria: Gelido in ogni vena (Cosroe) [5:02]
2. Esther, HWV50a - Act 3 Scene 2 No 2. Arioso: Turn not, O Queen, thy face away (Haman) [2:50]
3. Athalia, HWV52 - Act 1 Scene 1. Air: When storms the proud (Abner) [3:11]
Belshazzar, HWV61
4. Act 1 Scene 6 No 9a. Accompagnato: Oh, memory! (Gobrias) [0:46]
5. Act 1 Scene 6 No 9b. Air: Opprest with never-ceasing grief (Gobrias) [4:01]
6. Handel; Porpora: Catone, HWVA7 - Act 3 Scene 4. Aria: È ver che all'amo intorno (Cesare) [7:55]
Concerto grosso in F major, HWV315 Op 3/4a
7. Movement 1: Andante - Allegro - Lentamente [3:57]
8. Movement 2: Andante [1:56]
9. Movement 3: Allegro [1:32]
10. Movement 4: Minuetto alternativo [3:08]
11. Tolomeo, Re di Egitto, HWV25 - Act 2 Scene 6. Aria: Piangi pur (Araspe) [2:59]
12. Athalia, HWV52 - Act 2 Scene 1. Air: Ah, canst thou but prove me! (Abner) [3:41]
Nell'africane selve, HWV136a
13. No 1. Recitativo: Nell'africane selve [1:35]
14. No 2. Aria: Langue, trema, e prigioniero [6:31]
15. No 3. Recitativo: Nice, là fra confine [1:20]
16. No 4. Aria: Chiedo amore [4:30]
Joshua, HWV64
17. Part 2 No 04. Recitative: The walls are levell'd (Caleb) [0:30]
18. Part 2 No 05. Air: See, the raging flames arise (Caleb) [3:19]
19. Esther, HWV50a - Act 3 Scene 2 No 5. Air: How art thou fall'n from thy height! (Haman) [6:38]
20. Siroe, Re di Persia, HWV24 - Act 2 Scene 7. Aria: Tu di pietà mi spogli (Cosroe) [4:27]
21. Rinaldo, HWV7a - Act 1 Scene 4. Aria: Vieni, o cara (Argante) [4:16]
22. Joshua, HWV64 - Part 3 No 04. Air: Shall I in Mamre's fertile plain (Caleb) [3:08]
Исполнители
George Frideric Handel (1685-1759)
Handel's Finest Arias for Base Voice, Vol. 2Christopher Purves (baritone)
[u]Arcangelo[/u]
Jonathan Cohen (conductor)
Recording Date: February 26, 2016 - February 28, 2016
Recording Location: St. Jude-on-the-Hill, Hampstead Garden Suburb, London
Audio CD (29 Jun. 2018)
About
Christopher Purves is renowned for both the powerful sense of dramatic conviction he brings to everything he undertakes, and for a vocal technique which must be heard to be believed. From Handel’s early cantata to selections from Italian opera and English oratorio, this is a recital from a very special singer indeed.
Review
AllMusic Review by James Manheim [-]
There's no shortage of Handel aria recitals these days, especially in Britain, but this one by bass baritone Christopher Purves stands out from the crowd in several respects. First of all, it is rare in collecting arias for bass voice, which was, in Handel's time as it was later on, generally associated with a few fixed and generally negative character types (tyrants, rogues, repressive patriarchs). Second, it's a very pleasantly varied collection of tunes, including displays of brilliant passagework, out-of-the-norm writing in service of characterization (Fra l'ombre e gl'orrori, from Aci, Galatea e Polifemo, track 4), and high climactic drama (the big, three-part Revenge, Timotheus cries, from Alexander's Feast, track 19, is a familiar example). Finally, Purves unearths some rarely heard pieces and programs them intelligently. When did anyone last year anything from Muzio Scevola, or Riccardo Primo, rè d'Inghilterra, which must have pleased London audiences in 1727 despite its Italian-language text. Purves does not have the biggest voice in the bass baritone universe, and there could be a bit more sound in the very low notes. But the dimensions of the music are right for the period. He's pleasingly accurate in the passagework, and he's a real actor who makes these potentially stilted characters come alive. Listeners will want to hear Purves in a small production of one of these operas after hearing this album, preferably accompanied by the strong historical-instrument group Arcangelo under Jonathan Cohen, as he is here.
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