Serse - G-F Haendel (2005)

Serse - G-F Haendel (2005)
1 DVD ISO | 720x576 | MPEG-2 DVD | LPCM, DD 5.1 | Language: Italian | Subtitles: EN, FR, GER, ES, IT | 2H36 | 7.26 GB
Artists: Sandrine Piau, Paula Rasmussen, Isabel Bayrakdarian, Patricia Bardon...
Stage : Michael Hampe, Carlo Tommasi | Conductor: Christopher Rousset | Direction: Philip Behrens | Recording Date: 2-3 June 2000 | Place of recording: Semperoper, Dresden

Serse (Xerxes, HWV 40) is an opera seria in three acts by George Frideric Handel. It was first performed in London on 15 April 1738. The libretto is adapted by an unknown hand from that by Silvio Stampiglia for an earlier opera of the same name by Giovanni Bononcini in 1694. Stampiglia's libretto was itself based on one by Nicolò Minato that was set by Francesco Cavalli in 1654. The opera is set in Persia in 480 BC and is very loosely based upon Xerxes I of Persia, though there is little in either the libretto or music that is relevant to that setting. Xerxes, originally sung by a castrato, is now generally performed by a mezzosoprano or countertenor.

Une des dernières compositions de Haendel dans le domaine de l'opéra, Serse est considéré comme le plus « mozartien » et l'un des meilleurs qu'il ait composés. La passion s'y mêle à la farce et à la satire - en ce sens, il s'éloigne de l'opera seria typique mis au point par Apostolo Zeno et Métastase ; la folie de la nature humaine y est montrée mais jamais ridiculisée.
L'action se passe dans l'Empire Perse en 480 avant J.-C. et se fonde quelque peu sur l'histoire de l'empereur Xerxès. Il y a cependant peu de rapports réels entre l'Histoire et le livret ou sa musique. Le rôle-titre Xerxès était chanté par un castrat ; c'est généralement aujourd'hui un rôle travesti, c'est à dire un rôle masculin chanté par une femme à la tessiture de mezzo-soprano.

 

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Giulio Cesare in Egitto- George Friderich Handel (2006)

Giulio Cesare in Egitto- George Friderich Handel (2006)
3 DVD ISO | 720x480 | MPEG-2 DVD | LPCM 2.0, DTS 5.1 | Language: Italian | Subtitles: IT, EN, FR, GER, ES | 233 MIN | 16.46 GB

Artists: Sarah Connolly, Angelika Kirchschlager, Danielle De Niese, Christophe Dumaux...
Conductor: William Christie | Director: David McVicar | Recording Date: 2005 | Place of recording: Glyndebourne Opera Festival

Giulio Cesare est un opéra en trois actes composé en 1723 par Georg Friedrich Haendel pour sa propre compagnie, la Royal Academy of Music. Le livret est une adaptation par Nicola Francesco Haym, du Giulio Cesare in Egitto représenté à Venise en 1675 (texte de Giacomo Francesco Bussani, musique d'Antonio Sartorio). L'opéra de Haendel fut créé au King's théâtre Haymarket de Londres le 20 février 1724 . Ce fut un succès dès l'origine et Haendel le reprit en 1725, 1730 et 1732. Avant le XXe siècle, la dernière représentation eut lieu à Hambourg en 1737. Certains airs comme V'adoro, pupille, Se pietà ou Piangerò (Cleopatra), Va tacito ou Dall' ondoso periglio (Cesare), Svegliatevi nel core de Sesto ou encore le poignant duo de Cornelia et Sesto qui termine le premier acte, sont devenus des pièces de concert.

Giulio Cesare in Egitto (Julius Caesar in Egypt, HWV 17) is an Italian opera in three acts written by George Frideric Handel in 1724. The libretto was written by Nicola Francesco Haym.

A Great Moment of Opera:♥♥♥♥♥

AMAZON

There's a chance that purists will be very unhappy with director David McVicar's production of this Baroque masterpiece; there's also an equal chance that they'll be so vastly entertained that all criticisms will be beside the point. Updated to the years before World War I, Caeser's troops are British soldiers come to colonize Egypt, the latter being a place filled with exoticisms in the form of acres of billowing silk, flashy costumes, and full-blown song and dance numbers a la Bollywood (featuring sex-kitten Cleopatra and her minions). It's not only funny/campy, it also makes a certain internal sense. The razzle-dazzle is laid aside for the personal tragedy of Cornelia and Sesto (Patricia Bardon and Angelika Kirchschlager, respectively)--here portrayed as a beaten-down woman in a pathetic rage and a son on the verge of insanity--and for Caeser's and Cleopatra's more introspective moments. Caeser is mezzo Sarah Connelly, in firm voice and with the bearing of an emperor. Cleopatra is the 25-year-old American Daniele de Niese, ravishing in person and voice, with charisma, nerve, and talent in equal proportions. Countertenor Christopher Dumaux' bitchy-queen Tolomeo is remarkable, and the Achilles of bass Christopher Maltman is menacing. William Christie leads the Orchestra of the Age of Enlightenment with great spirit and dramatic thrust, and the production values---subtitles in major European languages and English, stereo and surround sound, and picture---are ideal. Extras include interviews with the director and singers and an up-close look at Danielle de Niese. This is a fascinating, grand entertainment that may just make new friends for Baroque opera. ---Robert Levine

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Le Messie (Messiah) - Handel (2000)

Le Messie (Messiah) - Handel (2000)
1 DVD ISO | 720x576 | MPEG-2 DVD | DD 5.1, DTS 5.1 | Language: English | Subtitles: French | 111 MIN | 5.10 GB
Artists: Lynne Dawson, Magdalena Kozena, Charlotte Hellekant, Brian Asawa...
Conductor : Marc Minkowski (Les Musiciens du Louvre) | Direction : William Klein | Date of recording: 22 décemebre 1999 | Place of recording: Studio

La turbulence des images scande impeccablement le tourbillon des voix, les brouillements des rythmes de Haendel, dont Minkowski, survolte la joie. Klein nous rappelle son premier métier,photographe. Rarement visages de chanteurs ont avoué d'aussi près leur concentration, leur envoûtement, jusqu'à la dépossession de soi-même, par l'émotion musicale. Et la passion du Christ nous bouleverse. Le Messie accomplit encore des miracles. Télérama

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Xerxes- George Friderich Handel

Xerxes- George Friderich Handel
DVD ISO | 768x576 | MPEG-2 DVD | LPCM | Language: English | Subtitles: EN, FR, GER, NL | 186 MIN | 7.1 GB

Artists: Ann Murray, Valerie Masterson, Christopher Robson, Jean Rigby, Lesley Garrett
Stage and set design: Nicholas Hytner | Conductor: Sir Charles Mackerras | Director:John Michael Phillips | Recording Date: 1988 | Place of recording: English National Opera

Serse (Xerxes, HWV 40) is an opera seria in three acts by George Frideric Handel. It was first performed in London on 15 April 1738. The libretto is adapted by an unknown hand from that by Silvio Stampiglia for an earlier opera of the same name by Giovanni Bononcini in 1694. Stampiglia's libretto was itself based on one by Nicolò Minato that was set by Francesco Cavalli in 1654. The opera is set in Persia in 480 BC and is very loosely based upon Xerxes I of Persia, though there is little in either the libretto or music that is relevant to that setting. Xerxes, originally sung by a castrato, is now generally performed by a mezzosoprano or countertenor.

Une des dernières compositions de Haendel dans le domaine de l'opéra, Serse est considéré comme le plus « mozartien » et l'un des meilleurs qu'il ait composés. La passion s'y mêle à la farce et à la satire - en ce sens, il s'éloigne de l'opera seria typique mis au point par Apostolo Zeno et Métastase ; la folie de la nature humaine y est montrée mais jamais ridiculisée.
L'action se passe dans l'Empire Perse en 480 avant J.-C. et se fonde quelque peu sur l'histoire de l'empereur Xerxès. Il y a cependant peu de rapports réels entre l'Histoire et le livret ou sa musique. Le rôle-titre Xerxès était chanté par un castrat ; c'est généralement aujourd'hui un rôle travesti, c'est à dire un rôle masculin chanté par une femme à la tessiture de mezzo-soprano.

French synopsis
English synopsis

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Rinaldo- George Friderich Handel (2003)

Rinaldo- George Friderich Handel (2003)
2 DVD ISO | 720x576 | MPEG-2 DVD | Dolby Digital 5.1 | Language: Italian | Subtitles: IT, EN, FR, GER, ES | 163+54 MIN | 7.65 GB

Artists: David Walker, Deborah York, David Daniels, Axel Köhler, Egils Sinins, The Bavarian State Orchestra...
Conductor: Harry Bicket | Director: Brian Large | Recording Date: 2001 | Place of recording: Prinzregententheater Munich

Rinaldo (HWV 7) is an Italian opera by George Frideric Handel, now a part of the standard operatic repertoire. The Italian libretto was written by Giacomo Rossi based on episodes of Torquato Tasso's Gerusalemme liberata ("Jerusalem Delivered"). It is a heroic story of battle and love set in the time of the First Crusade (1096–1099).
At the time of the First Crusade, forces led by Goffredo (Godfrey of Bouillon) are laying siege on Jerusalem which is under the rule of the Saracen king Argante. Aiding Goffredo are his brother Eustazio and Goffredo's daughter Almirena, who is in love with the knight Rinaldo. But Rinaldo is taken hostage by Armida, Argante's ally, who is the Queen of Damascus and a powerful enchantress. >>>WIKI

Rinaldo est un opéra de Georg Friedrich Haendel, créé le 24 février 1711 au Queen's Theatre de Londres.
Un des airs les plus célèbres est Lascia ch'io pianga (acte 2) (it: laissez-moi pleurer), a l'origine destiné à une voix de castrat. Un des interprètes les plus célèbres de cet air fut Farinelli, a tel point que certains arrangements pour orchestre intitulent le morceau "Farinelli"

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You need to download both dvds as the third act is on the 2nd dvd, there is also a bonus documentary called "Handel The Entertainer" of an excellent quality justifying that I kept it this time. (English: audio+ subtitles Fr+Ger+ES, not very fair to Italians.)

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Agrippina- George Friderich Handel (2004)

Agrippina- George Friderich Handel (2004)
DVD ISO | 720x480 | MPEG-2 DVD | DTS 6 Ch | Language: Italian | Subtitles: IT, EN, FR, GER, ES | 172 MIN | 7.9 GB

Artists: Veronique Gens, Philippe Jaroussky, Nigel Smith, Ingrid Perruche.....
Stage and set design: Emmanuel Clolus| Conductor: Jean-Claude Malgoire | Director:Frédéric Fisbach | Recording Date: 2004 | Place of recording: Ateliter lyrique de Tourcoing

Agrippina (HWV 6) is an opera seria in three acts by George Frideric Handel, from a libretto by Cardinal Vincenzo Grimani. Composed for the 1709–10 Venice Carnevale season, the opera tells the story of Agrippina, the mother of Nero, as she plots the downfall of the Roman Emperor Claudius and the installation of her son as emperor. Grimani's libretto, considered one of the best that Handel set, is an "anti-heroic satirical comedy", full of topical political allusions. Some analysts believe that it reflects the rivalry of Grimani with Pope Clement XI.

Handel composed Agrippina at the end of a three-year visit to Italy. It premiered in Venice at the Teatro San Giovanni Grisostomo on 26 December 1709, and was an immediate success. From its opening night it was given a then-unprecedented run of 27 consecutive performances, and received much critical acclaim. Observers were full of praise for the quality of the music—much of which, in keeping with the contemporary custom, had been borrowed and adapted from other works, including some from other composers. Despite the evident public enthusiasm for the work, Handel did not promote further stagings. There were occasional productions in the years following its premiere but, when Handel's operas fell out of fashion in the mid-18th century, it and his other dramatic works were generally forgotten.

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Tamerlano - George Friderich Handel (2008)

Tamerlano - George Friderich Handel (2008)
3 FULL DVD ISO+ Booklet | 720x480 | MPEG-2 DVD | DTS 5.1 | Language: Italian | Subtitles: IT, EN, FR, GER, ES | 242 MIN | 12.3 GB

Artists: Plácido Domingo, Jennifer Holloway, Luigi De Donato, Sara Mingardo, Monica Bacelli....
Stage and set design: Graham Vick | Conductor: Paul McCreesh | Recording Date: 2008 | Place of recording: Teatro Real Madrid

What of the plot? The psychopathic Tamerlano has captured Ottoman leader Badajet and daughter Asteria. Tamerlano's Greek buddy Andronico falls for Asteria. Meanwhile, Irene, princess of Trebizond, is on her way for her nuptials with Tamerlano. Tamerlano then decides that he will marry Asteria and palms Irene off on Andronico. Asteria's two failed attempts on Tamerlano's life and then Bajazet's suicide persuade Tamerlano to revert to the original marital arrangement. Thus, theoretically, all ends happily but the music suggests otherwise, as it has throughout. This is `dark' opera: Handel at his compelling best with some remarkable conventional da capo arias. There are three sections ABA where the singer is allowed free rein in the third which was much to the point of Handel's operas when first produced: an opportunity for florid vocal display. And if you ever thought that da capo arias are repetitiously dull and boring then watch and listen. Further watch and listen carefully to the last scene where Handel almost ignored the musical conventions.

FULL REVIEW

MusicWeb International, Robert McKechnie, May 2009:

If Handel's two other great operas, Giulio Cesare and Rodelinda, are well known then this third of the trio of `greats' should certainly join them. This production will do much to underline that.

For some years now the phrase `director's opera' has had a pejorative ring - sometimes with justification. This production has Graham Vick written all over it. Further, the music director James McCreesh concedes that that extends to choice of versions of scenes. "What do you mean, `choice of versions of scenes'? An opera is an opera is an opera." Sorry but it is not: that is what we have come to expect today but Handel and very many composers re-wrote scenes or omitted, added or replaced arias according to the ability of the available singers. And Tamerlano is no exception. No, I do not intend to bore you with a detailed analysis. One example will suffice: death or coronation in the last scene? Well, here you get both.

What of the plot? The psychopathic Tamerlano has captured Ottoman leader Badajet and daughter Asteria. Tamerlano's Greek buddy Andronico falls for Asteria. Meanwhile, Irene, princess of Trebizond, is on her way for her nuptials with Tamerlano. Tamerlano then decides that he will marry Asteria and palms Irene off on Andronico. Asteria's two failed attempts on Tamerlano's life and then Bajazet's suicide persuade Tamerlano to revert to the original marital arrangement. Thus, theoretically, all ends happily but the music suggests otherwise, as it has throughout. This is `dark' opera: Handel at his compelling best with some remarkable conventional da capo arias. There are three sections ABA where the singer is allowed free rein in the third which was much to the point of Handel's operas when first produced: an opportunity for florid vocal display. And if you ever thought that da capo arias are repetitiously dull and boring then watch and listen. Further watch and listen carefully to the last scene where Handel almost ignored the musical conventions.

In Handel's day productions were virtually static: singers stood and delivered and then frequently left the stage to applause hence, called, the exit aria. Curiously McCreesh describes this production as "quite still". Maybe: in comparison with other operatic productions. However, for me, Vick instils this one with wholly appropriate body and facial movement. I cannot pretend that I understand all of the symbolism, particularly of the silent `groupies' who accompany some of the singing: and just occasionally distract attention from it - an example is during the only aria given to Leone - Tamerlano's henchman. That aside, the acting here is first class, capturing Tamerlano's almost demonic personality, Badajet's decline and his reciprocated love for Asteria and also Andronico's constancy.

We expect no less. This is Monica Bacelli, the proven exciting Handelian in the title trouser role and the `imported' Plácido Domingo as Badajet; `imported' because this is his first Handel part in over a hundred roles and it is perfectly suited for him: a truly dramatic tenor.

Bacelli is in excellent form displaying a neurotic vibrancy through very expressive movements. This is not `stand and deliver' and nor is it a general-distraction cavort about the stage: but it is movement to encompass the stage and engage the audience in her characterful playing. Yes, and she sings too. Whilst her smaller voice contrasts with Domingo's power she never loses her strong focus or line and elegant phrasing. Not a pitch out of place, not a run slurred; most arias at a faster pace with opportunity for colouring and strong tones that she never misses.

Domingo is equally splendid portraying the beaten leader. Dramatic singing throughout. If I have a slight hesitation it would be about vocal flexibility in the quicker aria Ciel e terra (disc 1 track 15) - hardly surprising in a singer of his years which generally show no sign of catching up with him. But here I am being `nit-picky'. His is vocal drama which makes us empathize with a fallen leader of the Ottoman Empire and renders understandable the taking of his own life. That is no mean feat when his beloved daughter Asteria still lives. Domingo gives a master class in diction, dynamics and phrasing. His final aria is magnificently delivered as he leaves the stage backwards into the darkness.

The Swedish soprano Ingela Bohlin effortlessly despatches the role of Asteria, or so she makes it appear. This high-lying soprano role does not trouble her. In her splendid aria Cor di padre (disc 2 track 24) at the end of Act 2 she vocally wanders about at the top of and above the stave, occasionally leaping there with total accuracy. In her aria Se non mi vuol amor (disc 1 track 13) she leaves high notes just hanging exquisitely in the air. She has a very secure vibrato - and that is not an oxymoron - and a gentle trill which adds much to aria meaning and audience enjoyment.

Sara Mingardo is a true contralto but noticeably of smaller voice. Bearing in mind how responsive McCreesh is with the orchestra for the forte and piano of the roles for Bacelli and Domingo, it is disappointing that he does not at all times afford Mingardo that same facility/kindness/support. Mingardo has wonderful vocal flexibility with quite remarkable beauty of tone. No applause for her act 1 aria Bella Asteria (disc 1 track9) which I would have expected to lead to sustained applause. Her timbre balances extremely well with both Bacelli and Bohlin to produce some delightful sounds.

Jennifer Holloway, as Irene arrives on stage aloft by some three metres on a gorgeous blue elephant on wheels. Could it be that the slightly irregular jumbo traverse of the stage contributes to her occasional lack of smoothness and steadiness of note in her opening aria? Certainly when back on stage terra firma her smooth clarity of note returns and when singing piano there is great beauty of tone.

De Donato, as Leone, is afforded one aria. Here it is the act 2 Amor dà guerra (disc 2 track 10) as opposed to the act 3 option of Nel mondo e nell' abisso. Apart from a slight hint of effort when on serious high he sings clearly with a firm line. His problem, or rather our problem, is to concentrate on him while three pairs of `supporters' perform a variety of symbolic mimes. Despite watching it several times I remain convinced that I do not fully understand all the symbolism.

That applies also to movements that take place on the balcony which goes around the semi-circular stage where the `groupies' perform various mimes in slow motion around it or small blue elephants move equally slowly. That leaves a bare stage over which hangs the celebrated foot on the globe (no prizes for guessing that piece of symbolism) variously pushed up by Badajet or crushing him or Asteria. It also ascends and descends almost imperceptibly as appropriate to the stage action. In act 2 in what is almost a coup de théâtre it revolves through 180° to reveal its hollow back with gold lining and a seat that becomes Tamerlano's throne.

The only stage prop which doesn't seem to me to be particularly effective is the long bench protruding from the back stage in the first part of act 3 which serves at Tamerlano's throne. Otherwise, the stage effects together with the matching half moons near stage front that move together to form another circle and become a prop in their own right, are spectacularly effective.

Colours are also fundamental. The stage is white, the costumes black and/or white except for the splendid Act 2 vivid lime green for Tamerlano and later a brilliant cerise. Irene has similarly strongly coloured costume when on her elephant. As you can see above Badajet and daughter are in white and remain so throughout. Symbolism in colours? I think so.

All that said there is a fault: but not with the production. It is the subtitles: too frequently the translation leaves a great deal to be desired. It is not idiomatic; indeed occasionally it is archaic if not arcane. Rely on them and from time to time you might struggle to follow the plot. Any such problem is overcome by the synopsis - one of the extra features. There is also a helpful commentary in the accompanying booklet.

The final points must be alternative productions and cost. The only alternative DVD that I have found is the recording of the production at the 2001 Handel Festival at Halle (Arthaus Musik 100702). The title role is again taken by Monica Bacelli. Thomas Randle, of distinctive timbre, is Badajet but to my mind is not in Domingo's class for vocal or dramatic acting. If you prefer a counter-tenor for Andronico then here is Graham Pushee in fervent form. Irene is the creamy smooth engaging mezzo of Anna Bonitatibus. Elizabeth Norberg-Shulz and Antonio Abete complete the cast. Jonathan Miller is the director for Halle production and relies primarily on vocal display to captivate the audience. This is indeed a more static performance in seriously colourful Eastern costumes but without the costume contrasts, stage movement and drama of the Vick/McCreesh production.

There are several additional points to note about the Halle production. First and surprisingly the singers are `miked'. Second there are numerous extras including interviews with noted Handelians and some interesting historical film footage. In addition it offers as a special feature "Score plus: read the score as subtitle". When elected the performance fades and continues in the background with the score superimposed over it: novel and seriously expanding the opportunities for enjoyment.

On the internet I found that this Vick/McCreesh production is a fiver dearer than the Halle production and at a best price of around £24 it is not cheap - but for me it is worth every penny or euro for this sensitively filmed three disc set with one act on each.

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Admeto-Handel (Special Edition with 2 DVDs+ 2 CDs) (2006)

Admeto-Handel (Special Edition with 2 DVDs+ 2 CDs) (2006)
2 DVD ISO+ 2 CD (APE) | 720x480 | MPEG-2 DVD | DTS 5.1 | Language: Italian | Subtitles: IT, EN, FR, GER, ES | 196 MIN | 8.23 GB +492 MB

Artists: Matthias Rexroth, Romelia Lichtenstein, Raimund Nolte, Melanie Hirsch, Tim Mead....
Stage and set design: Roland Aeschlimann| Conductor: Howard Arman | Director: Axel Koehler | Recording Date: 2006 | Place of recording: Opernhaus Halle

Admeto, re di Tessaglia (Admetus, King of Thessaly; HWV 22) is a three-act opera with music composed by George Frideric Handel to an Italian-language libretto prepared by Nicola Haym. The story is partly based on Euripedes' Alcestis. The opera's first performance was at the Haymarket Theatre in London on 31 January 1727.

Admeto, re di Tessaglia (Admète, roi de Thessalie) est un opéra en trois actes dont la musique fut composée par Georg Friedrich Haendel à partir d'un livret italien écrit par Nicola Haym.
L'histoire est partiellement basée sur L'Alceste d'Euripide. La création de l'opéra eut lieu au théâtre de Haymarket à Londres le 31 janvier 1727. La distribution de la création comprenait Faustina Bordoni dans le rôle d'Alceste et Francesca Cuzzoni dans celui d'Antigone. Admeto fut le second des cinq opéras que Handel composa pour mettre en scène spécifiquement ces deux prime donne de l'époque.

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Ariodante - George Friderich Handel (2008)

Ariodante - George Friderich Handel (2008)
DVD ISO | 720x480 | MPEG-2 DVD | DD 5.1 Ch | Language: Italian | Subtitles: IT, EN, FR, GER, ES | 157 MIN | 7.9 GB

Artists: Ann Hallenberg, Laura Cherici, Carlo Lepore, Zachary Stains...
Conductor: Alan Curtis | Stage and set design, Director: John Pascoe | Recording Date: 2007 | Place of recording: Spoleto Festival

Ariodante (HWV 33) is an opera seria in three acts by Handel. The anonymous Italian libretto was based on a work by Antonio Salvi, which in turn was adapted from Canti 5 and 6 of Ludovico Ariosto's Orlando Furioso. Each act contains opportunities for dance, originally composed for dancer Marie Sallé and her company.

Ginevra, daughter of the King of Scotland, is betrothed to Ariodante. Polinesso, a jealous rival of Ariodante, wins the confidence of Ginevra's friend Dalinda. With Dalinda's unwitting help, Polinesso tricks Ariodante into thinking that Ginevra is his lover.
The King, hearing of Ginevra’s alleged infidelity, disowns her, while Ariodante is reported dead by suicide. Polinesso then sends his agents to kill Dalinda, as the only witness to his plot. But Ariodante (whose suicide attempt was foiled), having met Dalinda while wandering in the woods, drives off the would-be assassins.
Polinesso, seeking to win the King’s favour, now offers to defend the honour of Ginevra in a tournament. In the combat, he is mortally wounded by Ariodante’s vengeful brother Lurcanio. Ariodante, having learned about Polinesso’s plot from Dalinda, now appears and offers himself as Ginevra’s champion. The dying Polinesso confesses his guilt and Ginevra is pardoned by the King.

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