HANDEL Rodelinda / Kermes, Mijanovic, Curtis

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G. F. HANDEL

Rodelinda
Kermes · Mijanovic · Davislim
Lemieux · Prina · Priante
Il Complesso Barocco
Alan Curtis
Int. Release 02 May. 2005
3 CDs / Download
0289 477 5391 9 3 CDs DDD AH3
ARCHIV Produktion


Liste de titres

CD 1: Handel: Rodelinda

George Frideric Handel (1685 - 1759)
Rodelinda, HWV 34

Overture

Il Complesso Barocco, Alan Curtis

Act 1

Simone Kermes, Il Complesso Barocco, Alan Curtis

Steve Davislim, Simone Kermes, Il Complesso Barocco, Alan Curtis

Simone Kermes, Il Complesso Barocco, Alan Curtis

Steve Davislim, Vito Priante, Sonia Prina, Il Complesso Barocco, Alan Curtis

Steve Davislim, Il Complesso Barocco, Alan Curtis

Sonia Prina, Vito Priante, Il Complesso Barocco, Alan Curtis

Sonia Prina, Il Complesso Barocco, Alan Curtis

Vito Priante, Il Complesso Barocco, Alan Curtis

Marijana Mijanovic, Il Complesso Barocco, Alan Curtis

Marijana Mijanovic, Marie-Nicole Lemieux, Il Complesso Barocco, Alan Curtis

Simone Kermes, Il Complesso Barocco, Alan Curtis

Simone Kermes, Marijana Mijanovic, Marie-Nicole Lemieux, Il Complesso Barocco, Alan Curtis

Vito Priante, Marijana Mijanovic, Marie-Nicole Lemieux, Simone Kermes, Il Complesso Barocco, Alan Curtis

Simone Kermes, Il Complesso Barocco, Alan Curtis

Steve Davislim, Vito Priante, Il Complesso Barocco, Alan Curtis

Steve Davislim, Il Complesso Barocco, Alan Curtis

Marijana Mijanovic, Marie-Nicole Lemieux, Il Complesso Barocco, Alan Curtis

Marie-Nicole Lemieux, Il Complesso Barocco, Alan Curtis

Marijana Mijanovic, Il Complesso Barocco, Alan Curtis

Durée totale de lecture 1:06:10

CD 2: Handel: Rodelinda

George Frideric Handel (1685 - 1759)
Rodelinda, HWV 34

Act 2

Vito Priante, Sonia Prina, Simone Kermes, Il Complesso Barocco, Alan Curtis

Sonia Prina, Il Complesso Barocco, Alan Curtis

Steve Davislim, Simone Kermes, Marie-Nicole Lemieux, Vito Priante, Il Complesso Barocco, Alan Curtis

Simone Kermes, Il Complesso Barocco, Alan Curtis

Steve Davislim, Marie-Nicole Lemieux, Vito Priante, Il Complesso Barocco, Alan Curtis

Steve Davislim, Il Complesso Barocco, Alan Curtis

Marie-Nicole Lemieux, Vito Priante, Il Complesso Barocco, Alan Curtis

Vito Priante, Il Complesso Barocco, Alan Curtis

Marie-Nicole Lemieux, Il Complesso Barocco, Alan Curtis

Vito Priante, Marijana Mijanovic, Il Complesso Barocco, Alan Curtis

Sonia Prina, Marijana Mijanovic, Marie-Nicole Lemieux, Il Complesso Barocco, Alan Curtis

Marijana Mijanovic, Il Complesso Barocco, Alan Curtis

Simone Kermes, Marie-Nicole Lemieux, Il Complesso Barocco, Alan Curtis

Simone Kermes, Il Complesso Barocco, Alan Curtis

Simone Kermes, Marijana Mijanovic, Steve Davislim, Il Complesso Barocco, Alan Curtis

Steve Davislim, Il Complesso Barocco, Alan Curtis

Simone Kermes, Marijana Mijanovic, Il Complesso Barocco, Alan Curtis

Durée totale de lecture 59:01

CD 3: Handel: Rodelinda

George Frideric Handel (1685 - 1759)
Rodelinda, HWV 34

Act 3

Sonia Prina, Marie-Nicole Lemieux, Il Complesso Barocco, Alan Curtis

Marie-Nicole Lemieux, Il Complesso Barocco, Alan Curtis

Sonia Prina, Il Complesso Barocco, Alan Curtis

Vito Priante, Steve Davislim, Il Complesso Barocco, Alan Curtis

Steve Davislim, Il Complesso Barocco, Alan Curtis

Marijana Mijanovic, Il Complesso Barocco, Alan Curtis

Marijana Mijanovic, Marie-Nicole Lemieux, Sonia Prina, Simone Kermes, Il Complesso Barocco, Alan Curtis

Simone Kermes, Il Complesso Barocco, Alan Curtis

Marijana Mijanovic, Marie-Nicole Lemieux, Il Complesso Barocco, Alan Curtis

Marijana Mijanovic, Il Complesso Barocco, Alan Curtis

Steve Davislim, Il Complesso Barocco, Alan Curtis

Vito Priante, Steve Davislim, Marijana Mijanovic, Simone Kermes, Il Complesso Barocco, Alan Curtis

Marijana Mijanovic, Il Complesso Barocco, Alan Curtis

Marie-Nicole Lemieux, Sonia Prina, Steve Davislim, Marijana Mijanovic, Simone Kermes, Il Complesso Barocco, Alan Curtis

Simone Kermes, Il Complesso Barocco, Alan Curtis

Marijana Mijanovic, Il Complesso Barocco, Alan Curtis

Appendix

Simone Kermes, Marijana Mijanovic, Il Complesso Barocco, Alan Curtis

Act 3

Simone Kermes, Sonia Prina, Marijana Mijanovic, Marie-Nicole Lemieux, Steve Davislim, Il Complesso Barocco, Alan Curtis

Appendix

Marie-Nicole Lemieux, Il Complesso Barocco, Alan Curtis

Durée totale de lecture 1:06:51

. . . this brilliantly directed, well-cast account easily surpasses rival period versions . . . Hitherto on disc, Curtis has concentrated on the rarer Handel opera titles, but here he tackles one of the composer's well-established masterpieces and supervises a performance worthy of the music. It is based on Pertharite, an obscure tragedy by Corneille, and Handel's music for the soprano (Rodelinda), castrato alto (Bertarido) and tenor (Grimoaldo) is among his finest. There is a ravishing duet for the married couple, with hardly a weak number for the supporting cast. Simone Kermes makes a forceful Rodelinda, spitting her fury at Steve Davislim 's commanding Grimoaldo. As Bertarido, Marijana Mijanovic sings movingly, with her grave, androgynous alto, and Sonia Prina, Marie-Nicole Lemieux and Vito Priante are excellent as Eduige, Unulfo and Garibaldo. Four stars

. . . a cast that outclasses all others . . . Simone Kermes brings . . . passion and tragic grandeur to Rodelinda's music . . . this new set is the one to go for.

. . . this long-term Handelian and one-time Berkeley prof has discovered the opera's psychological core and unleashed its power. Also, the recording stems from live
performances at the Baroque Festival of Viterbo, which explains its vitality and sense of
immediacy. Curtis' singers, no weak link among them, have portrayed their characters live. That said, the drama emanates as much from the expert instrumentalists, Baroque experts all, as it does from the singers.

Simone Kermes's portrayal of the stronger-than-Penelope character of Rodelinda is gorgeous, the sound at the top occasionally metallic in a fascinating way, and her diction fine, divisions accurate and embellishments stunning . . . Alan Curtis has sucked all the energy out of the score. His Il Complesso Barocco plays beautifully, the strings lustrous and winds pointedly used and expertly highlighted . . . The recorded sound is excellent, Kermes is always worth hearing, and the score is elegantly presented and played.

Il Complesso Barocco . . . here play with admirable vitality and dramatic subtlety. Curtis has obviously worked hard to encourage his string players to understand what the singers are communicating: each aria is impeccably interpreted and intellegently paced. On the whole, Curtis's passion and experience ensure another typically persuasive and theatrical vindication of Handel's genius.

This is a consummate piece of performing, and Simone Kermes is just staggering.

Alan Curtis's "Rodelinda" finds the great Handel veteran turning for the first time to one of the canonic operas with a cast led by the magnificent Simone Kermes.

Rodelinda herself is one of Handelian opera's greatest creations, not only a paradigm of the enduringly faithful wife, but a brave, passionate woman also capable of showing guile when defending those she loves. Her arias encompass a range of emotions running from deepest grief, through fiery defiance to joy. I find it difficult to imagine anyone doing greater justice to the role than Simone Kermes, who proves capable of descending to the depths of deepest pathos (her act III "Se'l mio duol" is almost overwhelming in its searing power) at one moment, while dazzling with perfectly placed, glittering colloratura the next. Kermes has already done some wonderful things on disc, but nothing as all embracing, as emotionally powerful as this . . . Above all, Curtis inspires a crackling sense of frisson, of dramatic veracity in no small way aided by orchestral playing that cuts deep into the spirit of the music. This, then, is a set for which to be profoundly thankful -- a recording to relish, to glory in, and to treasure.

Ein «Muß» für Händel-Fans . . .

Die junge Sängerbesetzung unter der Leitung des amerikanischen Barock-Pioniers Alan Curtis singt frisch und formbewusst . . . Das klein besetzte Ensemble Il Complesso Barocco spielt mit federndem Elan . . . eine in sich schlüssige Interpretation.

Technisch detailscharf eingefangen und zwischen Stimmen und Orchester gut ausbalanciert, liefert Curtis ein weiteres Beispiel seines federnd-pointierten, agogisch agilen Händel-Stils, kitzelt aus den Noten einen virtuosen Concertato-Geist und subtile Stimmungswerte hervor . . . Auch was die Sängerbesetzung angeht, setzt sich Curtis' Aufnahme mühelos an die Spitze der CD-Konkurrenz . . . Kermes gelingt mit ihrer Rodelinda eine Quadratur des Kreises: das akustische Abbild einer jungen Frau, der man aber zugleich auch die tragödienfähige Barocktheater-Heroine glaubt.

Was an Alan Curtis und seinem perfekt aufspielenden "Il complesso barocco" so gefällt, ist das Streben nach satter, vollrunder Klangbildung, die außer bei akuten Streicherspitzen nie ins strähnig-scharfe oder flimmrig-sägende so manch anderer Spezialisten von "Alter Musik" gerät. Im Gegenteil, die Tutti kommen aus den Lautsprechern warm, ja nahezu "romantisch" timbriert.

Nach seiner gefeierten "Deidemia" legt der Amerikaner Alan Curtis mit "Rodelinda" eine weitere Händel-Oper vor. Es fehlt ihm nicht an Temperament und Tempo.

Die Gabrieli Players liefern eine erstklassige Leistung und das gleiche trifft auf die Sängerinnen zu . . . in ihrer Interpretation der Partie des Paris trifft sie genau den richtigen Ton: sein Schwanken zwischen Hoffnung und Bangen wird von Frau Kozená meisterhaft gestaltet. Auch Helena kämpft mit ihren Gefühlen, zwischen der unverkennbaren Anziehungskraft des Paris und ihrem Widerwillen gegen seine aufdringlichen Annäherungsversuche. Susan Gritton bringt diese Verwirrung perfekt zum Ausdruck. Die Hinterlistigkeit des Erast/Amors wird von Carolyn Sampson gut herausgestellt. Gilian Webster singt die kleinen Rollen eines Trojaners am Anfang der Oper und der Pallas Athene am Ende sehr überzeugend. Fazit: eine in jeder Hinsicht gelungene Interpretation einer bewegenden und ausdrucksstarken Oper . . .

Que les choses soient claires: ceci est la meilleure version jamais parue en CD d'un chef d'¿uvre dont notre lecteur ne saurait se passer.

. . . el director americano brinda una versión sobresaliente el todos los aspectos graciás a que siempre sabe rodearse del personal más capacitado como en este caso los seis cantantes que intervienen en la grabación y ese magnificl Il Complesso Barosso que suena tan bien como siempre nos tiene acostumbrados.

Álbum . . . que nos regala momentos intensos del mejor Haendel, estupendamente grabado.

Un plauso . . . ad Alan Curtis che nel riproporre questo gioiello ha dato il meglio di sé. ... Plauso alla compagine orchestrale . . . sempre attenta a ricreare atmosfere di grande poesia - e alla concertazione di Alan Curtis, puntuale ed evocativa.
A Glorious Celebration of Steadfast Love

Alan Curtis conducts the first complete recording of Handel's Rodelinda

"Rodelinda is one of Handel's finest operas, and it has not received a recording that I enjoy listening to," says conductor Alan Curtis. "So I thought I would make one."
Curtis, a veteran Handel conductor and scholar with many award-winning Baroque recordings under his belt, gathered together some remarkable young singers for the project. In the autumn of 2004, in the beautiful Italian countryside near Viterbo, ten intense days of recording took place with a cast that included sought-after Yugoslav contralto Marijana Mijanovic and show-stopping German soprano Simone Kermes.

The conductor was eager to see how the singers would realize his conception of this opera about dynastic dirty tricks and a loving marriage threatened by tragedy. "For a director, Rodelinda is always a challenge, because there are three contralto roles. I wanted to have very different voices, and in this I've succeeded. Sonia Prina plays Eduige; she's a very brilliant singer but without the force in the lower register that Marijana has. Marijana makes the perfect Bertarido because she has a masculine edge to the sound of her voice. And Canadian contralto Marie-Nicole Lemieux was ideal for Unulfo."

Simone Kermes was chosen specifically because her fiery temperament is very different from the saintly, dignified figure of the faithful wife. "I wanted someone who wasn't going to see Rodelinda as a goodie-goodie," says Curtis. "She's courageous and risk-taking - she has the guts to say to Grimoaldo: 'You can marry me only if you can kill my child in front of me'. That's pretty astute psychologically - she knows Grimoaldo won't be able to do it. But Rodelinda doesn't behave in a theatrical way. Even when she's angry, she remains restrained. That's why I thought Simone would be an ideal Rodelinda. Other people could do it, but there wouldn't be the underlying, latent fury."

Kermes herself admits that she's struggled to find the subtle differences in colour that Handel has given to the vocal part. "It's a deep and lyrical role, without brilliant coloratura, and I miss that a little bit. But I hope I've made it varied all the way through." Curtis believes she's pulled it off. "Simone has enormous control. I have never found a singer so willing to do a variety of things - playing with vibrato, dropping the vibrato. She's very flexible, and her interpretations always win me over."

Kermes compares the character of Rodelinda with that of Mozart's Konstanze (in Die Entführung aus dem Serail), a role she has sung many times. Like Konstanze in her resistance to the Pasha, Rodelinda will not waver from her marital vows to Bertarido, in spite of all Grimoaldo's threats. "She's very honest, and very proud. She's also a dedicated mother, and I can identify with that because I'm a mother too. I can enter into a role more fully if I put some of my own life into it. You have to listen to your heart and your thoughts, and convey those to the audience so they can feel what you are feeling."

For Marijana Mijanovic, the opera has a very special signficance. "Rodelinda was the first production I sang in when I was still a student in Holland, and it opened the world of Baroque performance to me. I sang Eduige and soprano Sophie Daneman was Rodelinda. She was a wonderful colleague, and she arranged an audition for me with William Christie. He liked my voice and gave me lots of projects; he really introduced me to Baroque music. Then I met Marc Minkowski, and soon I was working with all the early-music masters." The speed with which this happened still astonishes her. "It's been only four years since this happened. I'm very happy that I got that chance - I think my voice is ideally suited to this music."

Rodelinda was another landmark in her career when she sang the part of Bertarido at Glyndebourne last year. "Bertarido is a character I identify with. He's very idealistic... he reminds me of Werther, someone who gives everything for a perfect love but comes to a bitter end. Of course Rodelinda ends happily, as almost all operas did in Handel's time. But it's the same belief and faith in love that drives Bertarido. I share these views, this idealism. I often get these kinds of roles - heroic characters or ones with strong beliefs."

"It was wonderful to be able to record the role of Bertarido straight after I'd been singing it on stage. The role was very alive for me. Even if I couldn't act it with my body, it was still fresh in my mind and my voice, and I could remember where I was and what I was feeling."
The role was written for the castrato Senesino, and more recently it's been the fashion to cast a counter-tenor in the role. But Alan Curtis has a problem with that. "The range of a castrato is different from that of a countertenor. Most countertenors find coloratura in the lower range very difficult - they have no force down there. I prefer to cast a woman - a true contralto who can really sing the lower range. And Marijana is one of the very best contraltos around."

There's an unexpected treat at the end of the opera - Curtis has incorporated a duet for Rodelinda and Bertarido that was written for the first revival after the opera was premiered in 1725. "I don't subscribe to the idea that a recording is a scientific document," says Curtis. "I'm happy to pick and choose from several sources. One of the most famous arias in the opera, 'Vivi tiranno', also came from the revival, and no one would dream of leaving that out." He believes the duet helps to make the ending more joyful. "It's a lovely piece, and it emphasizes the sense of celebration at the end, which can seem rather cursory. And it goes nicely into the final chorus." Fans of Marijana Mijanovic and Simone Kermes will be delighted with this unexpected bonus.
2/2005