Handel - Catone / Гендель - Катон 2017

Handel - Catone / Гендель - Катон

Жанр: Classical opera / pasticcio
Страна-производитель диска: Made in Austria
Год издания диска: 2017
Издатель (лейбл): Glossa
Номер по каталогу: GCD923511
Дата записи: 2016
Аудиокодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 65:25 + 59:50 / 02:04:49
Источник: релизер
-источник/ник/другое: makdelart, подарок; Caterina Sforza - тяжёлая работа с cue, доп. сканы
: да, полный авторский буклет jpeg, 64 страницы + web pdf буклет

Треклист

CD1

Parte Prima
01 Sinfonia

02 Recit. Tutto ha sconvolto (Catone, Arbace, Marzia)

03 Aria Con sì bel nome in fronte (Catone) [Leonardo Leo, Catone. Venice, 1729]

04 Recit. M’ami Arbace? (Marzia, Arbace)

05 Aria Non ti minaccio sdegno (Marzia) [Leonardo Leo, Catone]

06 Recit. Che giurai! Che promisi! (Arbace)

07 Aria Un raggio di speme (Arbace) [Johann Adolph Hasse, Dalisa. Venice, 1730 (Un raggio di stella)]

08 Recit. Senz’armi e solo (Cesare, Catone, Emilia)

09 Aria Pensa di chi sei figlia (Catone) [Leonardo Leo, Catone]

10 Recit. Tu taci Emilia? (Cesare, Emilia)

11 Aria Non paventa del mar le procelle (Cesare) [Nicola Porpora, Siface. Rome, 1730]

12 Recit. Sposo amato (Emilia)

13 Aria Priva del caro sposo (Emilia) [Nicola Porpora, Germanico. Rome, 1732]

14 Recit. Pur ti riveggio, o Marzia (Cesare, Marzia)

15 Aria Vaghe labbra voi fingete (Emilia) [Johann Adolph Hasse, Ulderica. Naples, 1729]

16 Recit. Ah, troppo dissi!E quasi tutto Emilia (Marzia)

17 Aria È follia se nascondete (Marzia) [Leonardo Leo, Catone]

18 Recit. Il senato a Catone (Catone) 1:05

19 Aria Mi conosci e sai chi sono? (Catone) [Leonardo Leo, Catone]

20 Recit. Dunque il servirti (Arbace, Marzia)

21 Aria Vaghe luci, luci belle [Antonio Vivaldi, Ipermestra. Florence, 1727]

22 Recit. A tanto eccesso giunse Catone? (Cesare, Emilia, Marzia)

23 Aria Agitato da più venti (Cesare) [Antonio Vivaldi?]

CD2

Parte Seconda
01 Recit. Si vuole ad onta mia (Catone, Cesare, Marzia)

02 Aria So che nascondi (Cesare) [Antonio Vivaldi, Orlando. Venice, 1727 (Benché nasconda)]

03 Recit. Signor, so che a momenti (Arbace, Catone, Emilia, Marzia)

04 Aria Dovea svenarti all’ora (Catone) [Leonardo Leo, Catone]

05 Recit. Sarete paghi al fin (Marzia, Emilia, Arbace)

06 Aria Fra tanti pensieri (Emilia) [Johann Adolph Hasse, Demetrio. Venice, 1732]

07 Recit. Ah Cesare che fai? (Marzia, Cesare)

08 Aria Confusa, smarrita spiegarti vorrei (Marzia) [Leonardo Leo, Catone]

09 Recit. M’inganno, o pur Cesare è questi? (Arbace, Cesare)

10 Aria Quando piomba improvvisa saetta (Arbace) [Nicola Porpora, Poro. Torino, 1731]

11 Recit. Del rivale all’aita (Cesare)

12 Aria È ver che all’amo intorno (Cesare) [Nicola Porpora, Poro]

13 Recit. È giunto il tempo (Emilia, Cesare, Catone)

14 Aria Vede il nocchier la sponda (Emilia, part A) [Johann Adolph Hasse, Euristero. Venice, 1732]

15 Recit. Lascia che un‘alma grata (Cesare, Catone, Voci)

16 Aria Vede il nocchier la sponda (Emilia, part B & da capo) [Johann Adolph Hasse, Euristero]

17 Recit. Vinceste inique stelle (Catone, Marzia, Arbace)

18 Aria Per darvi alcun pegno (Catone) [Leonardo Leo, Catone]

19 Sinfonia (Marcia)

20 Recit. Del vincitore è il moderar se stesso (Cesare, Marzia, Emilia)

21 Aria Vo solcando un mar crudele (Marzia) [Leonardo Vinci, Artaserse. Roma, 1730]

[/spoiler]

Исполнители

George Frideric Handel (1685-1759)
CATONE
Opera-pasticcio, HWV A7. London, 1732
Sonia Prina, Catone [contralto]
Riccardo Novaro, Cesare [baritone]
Roberta Invernizzi, Emilia [soprano]
Kristina Hammarström, Arbace [mezzo-soprano]
Lucia Cirillo, Marzia [soprano]
[u]Auser Musici[/u]
Carlo Ipata, conductor
Recorded at Konzerthalle Ulrichskirche, Halle, Germany, on 27-28 May 2016
Audio CD (February 17, 2017)

[/spoiler]
[/spoiler]

About this CD

By bringing Catone to disc Carlo Ipata is celebrating the pasticcio, especially those curated by George Frideric Handel, as is the case with this new Glossa release. In a co-production involving the Fondazione Teatro di Pisa and the Händel Festspiele Halle, Ipata brings a further slant on Handel’s operatic career in London; whilst being busy with running the second Royal Academy of Music and writing his own operas, the composer was striving to present London audiences with selections from the best of recent Italian operas by other composers - all at the same time as giving his star singers the opportunity to show off early in the opera company’s season. One result was Catone in 1732, with music by Leo, Hasse, Vivaldi, Vinci, Porpora as well as by Handel himself; company members included Senesino, Anna Maria Strada del Pò and Antonio Montagnana.
For this Halle performance Carlo Ipata has brought together a modern-day starry cast - Sonia Prina, Roberta Invernizzi (now with her own Handelian opera arias release - Queens - on Glossa), Riccardo Novaro, Kristina Hammarstrom and Lucia Cirillo - to sing the tale of the noble Roman Republican senator finding himself on the losing side of the battles with Julius Caesar and with his daughter being in love with the conquering general. Angela Romagnoli provides a resounding defence of the Handelian pasticcio in her booklet essay.
The pasticcio’s plot functions admirably, the arias are stunning, both individually and collectively: the recording is a feast of sparkling crowd-pleasing virtuosity.

Review

AllMusic Review by James Manheim [-]
Handel lovers puzzled by the emergence of a previously unknown Handel opera called Catone will have things clarified upon learning that the work is a pasticcio -- a pastiche or compilation -- rather than an original composition. The libretto by Pietro Metastasio dealt with the last stand of the Roman Republic in Utica (now in Tunisia), a favorite topic of democratic-minded audiences. Handel assembled arias by other composers who had already set the libretto, namely Leonardo Leo, Johann Adolf Hasse, Antonio Vivaldi, Leonardo Vinci, and Haydn's teacher Niccolò Porpora, adding a few transitions, ruthlessly pruning the Italian-language recitative that English audiences couldn't understand, and apparently furnishing a couple of instrumental sections. The results do not make any less sense plotwise than the common run of Baroque operas, and really they offer quite a bit of insight into Handel's world. Historically Catone has been ignored because it was taken to be merely Handel's solution to an overgrown workload, but annotator Angela Romagnoli argues that there was more to it than that: opera in Handel's time was a product not only of composers but of singers, and the music in a work like Catone was expertly fashioned in order to best display the talents of artists like the fabled Italian castrato Senesino as Catone. Here the role is sung by a woman, Sonia Prina, who doesn't have quite the right heft, but in general the performances from Auser Musici under Carlo Ipata are very strong: the music zips along and succeeds dramatically. For average listeners the music in general will show why Haydn and Vivaldi are remembered while Vinci and Leo are forgotten, but there are exceptions: sample Emilia's aria Vaghe labbra voi fingete, by Hasse, for an idea of what's happening here and for a taste of the music many singers of the area turned to when they wanted real vocal fireworks. With Glossa's usual fine sound and graphic design, this is a nice find for Handel buffs.