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Pepusch - Venus and Adonis / Пепуш - Венера и Адонис
Жанр: Classical opera
Страна-производитель диска: Made in Austria
Год издания диска: 2016
Издатель (лейбл): Ramée
Номер по каталогу: RAM1502
Дата записи: 2015
Аудиокодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 01:25:01
Источник: релизер
-источник/ник/другое: carbozie, подарок; Caterina Sforza - тяжелейшая работа с cue (два часа), доп. сканы
: да, авторские сканы jpeg + web pdf буклет
Треклист:
First Interlude
1. Overture
2. Hail! Bright Aurora!
3. How Pleasant Is Ranging the Fields
4. But Soft! What Nymph Is This?
5. Ah! Sweet Adonis, Form'd for Joy!
6. O! Bounteous Goddess!
7. With Her Alone I'll Live and Die
8. Your Leave, Bright Goddess
9. Swain, Thy Foolish Sports Give Over
10. In Vain of Love You Praise the Joy
11. Cease Your Vain Teazing
12. Ah! Venus Lost!
13. Cupid! Cupid! Bend Thy Bow
14. Alas! Alas! It Will Not Be!
15. Hark! How the Cheerful Horn
16. How Silly's the Heart of a Woman
17. Such Scorn and Insult Can I Bear?
18. Farewel, Venus! Welcome Pleasures!
Second Interlude
19. Prelude
20. From War's Alarms
21. Beauty Now Alone Shall Move Him
22. Down to These Woods Descending
23. Gentle Slumbers
24. This Way the Jolly Huntsmens Hollow
25. Chirping Warblers
26. But Soft! He Moves
27. What Heart Could Now Refuse Thee
28. Ah! Ruin'd! Lost!
29. Thus the Brave from War Returning
30. Ah! Cruel Mars!
31. On Love What Greater Curse Can Fall
32. Hark! Hark! Adonis, Hark Away!
33. O Fading Joy!
34. O! Mars, Unkind!
35. O! Believe Me!
36. He's Gone!
37. O! Welcome! Welcome! Gentle Death!
38. He's Gone - The Flitting Soul Is Fled!
39. Let Every Tender Passion
40. No More Let Mortal Heart
Исполнители
Johann Christoph Pepusch (1667-1752)
VENUS AND ADONIS
Masque in two parts. Premiered at london’s Theatre Royal on 12 March 1715
Ciara Hendrick, mezzo-soprano (Venus)
Philippa Hyde, soprano (Adonis)
Richard Edgar-Wilson, tenor (Mars)
[u]The Harmonious Society of Tickle-Fiddle Gentlemen[/u]
Robert Rawson, direction
Recording Date: June, 2015
Recording Location: St Mary the Virgin, Bishopsbourne, Kent, UK
Release Date: September 30, 2016
Review
Music in England between Purcell’s death and Handel’s arrival 15 years later remains a black hole except to a handful of specialists. By 1704 the Berliner Johann Christoph Pepusch settled permanently in London, where he was responsible for the composition or compilation of various theatre entertainments; later on he was music director for the first Duke of Chandos (for whom Handel composed several early English masterpieces at around the same time), and he provided music for Gay’s political satire The Beggar’s Opera (1728). Pepusch’s more ambitious works have been somewhat ignored by scholars and performers alike - so hats off to The Harmonious Society of Tickle-Fiddle Gentlemen for this enjoyable account of Venus and Adonis, a masque first performed as an afterpiece at Drury Lane in 1715. The scholar-performer and project director Robert Rawson calls it ‘a full-blooded opera seria in miniature’, and it turns out that the score has several fascinating parallels with Handel’s Acis and Galatea (Cannons, 1718), in which Pepusch might have played violin: a few of its comparable elements are a pair of oboes cascading limpidly over shapely strings and crisp continuo in the fine overture, and sopranino recorder chirrups in Venus’s ‘Chirping warblers’.
Adonis’s jolly hunting song ‘How pleasant is ranging the fields’ is sung blithely by Philippa Hyde, whose florid passages sparkle articulately in ‘Cease your vain teazing’ (an assertive minor-key complaint that could almost pass for Handel in its contrapuntal ritornellos). Venus’s entrance in a chariot is performed with radiant sweetness by Ciara Hendrick (‘Ah! sweet Adonis’), and the goddess’s complaint that Adonis appears uninterested in her charms is an impeccable juxtaposition of imperious authority and pathos (‘Cupid! Cupid! bend thy bow’). The jealous Mars is sung nimbly by Richard Edgar-Wilson at the very bottom of his range; a quarrelsome duet for Venus and Mars is dramatically vivid. The climax is slow creeping music with recorders for Adonis’s death scene (‘O! welcome! gentle death!’) and Venus’s anguished reaction in a turbulent accompanied recitative and aria (‘Arise! black storms and tempests’). If a contest is sought, then Handel (not to mention John Blow) clearly wins - but this excellent recording reveals that Pepusch is a significantly better composer than is normally assumed.
Review
AllMusic Review by Blair Sanderson [-]
The German-born English transplant Johann Christoph Pepusch was an older contemporary and colleague of George Frederick Handel, and he is best remembered for arranging the music of John Gay's The Beggar's Opera. His involvement in London's music scene also led him to compose his own works for the stage, such as the masque Venus and Adonis, a vehicle for two of the leading sopranos of the day, Jane Barbier and Margarita de L'Epine. This recording by The Harmonious Society of Tickle-Fiddle Gentlemen, led by Robert Rawson, is a period re-creation of Pepusch's 1715 work, and fans of Handel's buoyant operas will find many stylistic similarities in this performance, from the lively writing for the small but energetic orchestra, and the ornate vocal lines, to the joyous tone of the music. Especially delightful is the cast -- Ciara Hendrick as Venus, Philippa Hyde as Adonis, and Richard Edgar-Wilson as Mars -- who deliver their recitatives and arias with great panache and such clear enunciation that the English-language libretto isn't really necessary for comprehension. The recorded sound by Ramée is transparent and full of presence, so listening feels like front-row seating. Highly recommended for fans of Baroque opera.
Product Description
Johann Christoph Pepuschs English-language masque Venus and Adonis premiered at London s Theatre Royal on 12 March 1715. Inspired by the operas of composers like Giovanni Battista Bononcini and Alessandro Scarlatti, it was the most substantial effort of the period to reconcile Musick to the English Tongue. As part of the battle for supremacy amongst Londons theatres, Pepusch recruited a select Band of the best Masters of Instrumental Musick and two of the citys leading singers, the Italian lady Margarita de LEpine en travesti as Adonis and the contralto Jane Barbier as Venus. The work bristles with Italian virtuosity and dynamism and unlike most English-language dramatic music at the time, Venus and Adonis makes ample use of dramatic recitative. A clear model for Handels later Acis and Galatea, this world-premiere recording of Pepuschs wonderful masque reestablishes the work as a milestone in the history of English opera.
Рецензия от издателя
Johann Christoph Pepusch's Venus and Adonis premiered at London's Theatre Royal in 1715. Inspired by the operas of composers like Giovanni Battista Bononcini and Alessandro Scarlatti, it was the most substantial effort of the period to 'reconcile Musick to the English Tongue.' These works bristle with Italian virtuosity and dynamism and unlike most dramatic music of the time, Venus and Adonis makes ample use of dramatic recitative. A clar model for Handel's later works.
Рецензия от издателя
Johann Christoph Pepusch’s English-language masque Venus and Adonis premiered at London’s Theatre Royal on 12 March 1715. Inspired by the operas of composers like Giovanni Battista Bononcini and Alessandro Scarlatti, it was the most substantial effort of the period to ‘reconcile Musick to the English Tongue.’
As part of the battle for supremacy amongst London’s theatres, Pepusch recruited ‘a select Band of the best Masters of Instrumental Musick’ and two of the city’s leading singers, the ‘Italian lady’ Margarita de L’Epine en travesti as Adonis and the contralto Jane Barbier as Venus.
The work bristles with Italian virtuosity and dynamism and unlike most English-language dramatic music at the time, Venus and Adonis makes ample use of dramatic recitative. A clear model for Handel’s later Acis and Galatea, this world-pr
Жанр: Classical opera
Страна-производитель диска: Made in Austria
Год издания диска: 2016
Издатель (лейбл): Ramée
Номер по каталогу: RAM1502
Дата записи: 2015
Аудиокодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 01:25:01
Источник: релизер
-источник/ник/другое: carbozie, подарок; Caterina Sforza - тяжелейшая работа с cue (два часа), доп. сканы
: да, авторские сканы jpeg + web pdf буклет
Треклист:
First Interlude
1. Overture
2. Hail! Bright Aurora!
3. How Pleasant Is Ranging the Fields
4. But Soft! What Nymph Is This?
5. Ah! Sweet Adonis, Form'd for Joy!
6. O! Bounteous Goddess!
7. With Her Alone I'll Live and Die
8. Your Leave, Bright Goddess
9. Swain, Thy Foolish Sports Give Over
10. In Vain of Love You Praise the Joy
11. Cease Your Vain Teazing
12. Ah! Venus Lost!
13. Cupid! Cupid! Bend Thy Bow
14. Alas! Alas! It Will Not Be!
15. Hark! How the Cheerful Horn
16. How Silly's the Heart of a Woman
17. Such Scorn and Insult Can I Bear?
18. Farewel, Venus! Welcome Pleasures!
Second Interlude
19. Prelude
20. From War's Alarms
21. Beauty Now Alone Shall Move Him
22. Down to These Woods Descending
23. Gentle Slumbers
24. This Way the Jolly Huntsmens Hollow
25. Chirping Warblers
26. But Soft! He Moves
27. What Heart Could Now Refuse Thee
28. Ah! Ruin'd! Lost!
29. Thus the Brave from War Returning
30. Ah! Cruel Mars!
31. On Love What Greater Curse Can Fall
32. Hark! Hark! Adonis, Hark Away!
33. O Fading Joy!
34. O! Mars, Unkind!
35. O! Believe Me!
36. He's Gone!
37. O! Welcome! Welcome! Gentle Death!
38. He's Gone - The Flitting Soul Is Fled!
39. Let Every Tender Passion
40. No More Let Mortal Heart
Исполнители
Johann Christoph Pepusch (1667-1752)
VENUS AND ADONIS
Masque in two parts. Premiered at london’s Theatre Royal on 12 March 1715
Ciara Hendrick, mezzo-soprano (Venus)
Philippa Hyde, soprano (Adonis)
Richard Edgar-Wilson, tenor (Mars)
[u]The Harmonious Society of Tickle-Fiddle Gentlemen[/u]
Robert Rawson, direction
Recording Date: June, 2015
Recording Location: St Mary the Virgin, Bishopsbourne, Kent, UK
Release Date: September 30, 2016
Review
Music in England between Purcell’s death and Handel’s arrival 15 years later remains a black hole except to a handful of specialists. By 1704 the Berliner Johann Christoph Pepusch settled permanently in London, where he was responsible for the composition or compilation of various theatre entertainments; later on he was music director for the first Duke of Chandos (for whom Handel composed several early English masterpieces at around the same time), and he provided music for Gay’s political satire The Beggar’s Opera (1728). Pepusch’s more ambitious works have been somewhat ignored by scholars and performers alike - so hats off to The Harmonious Society of Tickle-Fiddle Gentlemen for this enjoyable account of Venus and Adonis, a masque first performed as an afterpiece at Drury Lane in 1715. The scholar-performer and project director Robert Rawson calls it ‘a full-blooded opera seria in miniature’, and it turns out that the score has several fascinating parallels with Handel’s Acis and Galatea (Cannons, 1718), in which Pepusch might have played violin: a few of its comparable elements are a pair of oboes cascading limpidly over shapely strings and crisp continuo in the fine overture, and sopranino recorder chirrups in Venus’s ‘Chirping warblers’.
Adonis’s jolly hunting song ‘How pleasant is ranging the fields’ is sung blithely by Philippa Hyde, whose florid passages sparkle articulately in ‘Cease your vain teazing’ (an assertive minor-key complaint that could almost pass for Handel in its contrapuntal ritornellos). Venus’s entrance in a chariot is performed with radiant sweetness by Ciara Hendrick (‘Ah! sweet Adonis’), and the goddess’s complaint that Adonis appears uninterested in her charms is an impeccable juxtaposition of imperious authority and pathos (‘Cupid! Cupid! bend thy bow’). The jealous Mars is sung nimbly by Richard Edgar-Wilson at the very bottom of his range; a quarrelsome duet for Venus and Mars is dramatically vivid. The climax is slow creeping music with recorders for Adonis’s death scene (‘O! welcome! gentle death!’) and Venus’s anguished reaction in a turbulent accompanied recitative and aria (‘Arise! black storms and tempests’). If a contest is sought, then Handel (not to mention John Blow) clearly wins - but this excellent recording reveals that Pepusch is a significantly better composer than is normally assumed.
Review
AllMusic Review by Blair Sanderson [-]
The German-born English transplant Johann Christoph Pepusch was an older contemporary and colleague of George Frederick Handel, and he is best remembered for arranging the music of John Gay's The Beggar's Opera. His involvement in London's music scene also led him to compose his own works for the stage, such as the masque Venus and Adonis, a vehicle for two of the leading sopranos of the day, Jane Barbier and Margarita de L'Epine. This recording by The Harmonious Society of Tickle-Fiddle Gentlemen, led by Robert Rawson, is a period re-creation of Pepusch's 1715 work, and fans of Handel's buoyant operas will find many stylistic similarities in this performance, from the lively writing for the small but energetic orchestra, and the ornate vocal lines, to the joyous tone of the music. Especially delightful is the cast -- Ciara Hendrick as Venus, Philippa Hyde as Adonis, and Richard Edgar-Wilson as Mars -- who deliver their recitatives and arias with great panache and such clear enunciation that the English-language libretto isn't really necessary for comprehension. The recorded sound by Ramée is transparent and full of presence, so listening feels like front-row seating. Highly recommended for fans of Baroque opera.
Product Description
Johann Christoph Pepuschs English-language masque Venus and Adonis premiered at London s Theatre Royal on 12 March 1715. Inspired by the operas of composers like Giovanni Battista Bononcini and Alessandro Scarlatti, it was the most substantial effort of the period to reconcile Musick to the English Tongue. As part of the battle for supremacy amongst Londons theatres, Pepusch recruited a select Band of the best Masters of Instrumental Musick and two of the citys leading singers, the Italian lady Margarita de LEpine en travesti as Adonis and the contralto Jane Barbier as Venus. The work bristles with Italian virtuosity and dynamism and unlike most English-language dramatic music at the time, Venus and Adonis makes ample use of dramatic recitative. A clear model for Handels later Acis and Galatea, this world-premiere recording of Pepuschs wonderful masque reestablishes the work as a milestone in the history of English opera.
Рецензия от издателя
Johann Christoph Pepusch's Venus and Adonis premiered at London's Theatre Royal in 1715. Inspired by the operas of composers like Giovanni Battista Bononcini and Alessandro Scarlatti, it was the most substantial effort of the period to 'reconcile Musick to the English Tongue.' These works bristle with Italian virtuosity and dynamism and unlike most dramatic music of the time, Venus and Adonis makes ample use of dramatic recitative. A clar model for Handel's later works.
Рецензия от издателя
Johann Christoph Pepusch’s English-language masque Venus and Adonis premiered at London’s Theatre Royal on 12 March 1715. Inspired by the operas of composers like Giovanni Battista Bononcini and Alessandro Scarlatti, it was the most substantial effort of the period to ‘reconcile Musick to the English Tongue.’
As part of the battle for supremacy amongst London’s theatres, Pepusch recruited ‘a select Band of the best Masters of Instrumental Musick’ and two of the city’s leading singers, the ‘Italian lady’ Margarita de L’Epine en travesti as Adonis and the contralto Jane Barbier as Venus.
The work bristles with Italian virtuosity and dynamism and unlike most English-language dramatic music at the time, Venus and Adonis makes ample use of dramatic recitative. A clear model for Handel’s later Acis and Galatea, this world-pr
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Количество CD
1
Тип упаковки
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0.12 кг
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(MP3 + FLAC)
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