Handel alcina dessay

Handel: Alcina

The first person they meet is the sorceress Morgana. In short, this is not the Alcina Handelians have been waiting for - the EMI remains the safest recommendation - but fans of Handel alcina dessay three leading ladies will probably not be disappointed.

Handel Alcina

No doubt it is a consequence of performing in a large house that the tempos are on the slower side of average, generally speaking, although there is no lack of fire in the big virtuoso pieces. Oronte realizes that Ricciardo, Melisso and Ruggiero are in some sort of alliance, and Morgana and Alcina realise they are being deceived.

Bradamante is not the type to put up with the constant disappearance of her lover, and she spends vast portions of the poem in full armor chasing after him.

Morgana and Oronte try to rebuild their relationship; she returns to him and he rebuffs her but once she is offstage admits he loves her still. Still, this Alcina is by no means a worse offender than the existing versions - far from it, in fact. As he does so, everything is both ruined and restored.

Editors and performers do need to give this more careful and informed thought. Her ornamentation sometimes takes Handel alcina dessay to dizzying heights. In the early s it was by no means taken as read that castrato roles should be sung at pitch and the casting of Berganza as Ruggiero set a standard for this kind of role that has only rarely been matched since.

He tells the young man exactly how Alcina treats her former lovers and adds that, as far as he can tell, Alcina has fallen in love with the newcomer, Ricciardo Semplicetto! The singer of Oberto, Juanita Lascarro, has an agreeably boyish timbre that suits the role well and does not preclude fiery singing in the final aria.

Two recordings have already made a strong case for Alcina. In some productions, this aria is sung by Alcina. Fleming has one of the most beautiful soprano voices before the opera public today and technically she is equal to everything Handel throws at Alcina; and yet, somehow, she never quite sounds right in the role.

It goes without saying that Fleming gives a deeply committed and vocally sumptuous performance, but her fruity vibrato and liberal use of portamento sound alien to me in this music. Just before the opera begins she has rescued him from an enchanted castle, only to have her flying horse a hippogriff take a fancy to Ruggiero and fly off with him.

Ruggiero returns to his proper heroic status and sings an aria accompanied by high horns; Oberto is introduced to a lion, to whom he feels strangely attached, and Alcina sings a desolate aria in which she longs for oblivion.

As a souvenir of an all-stars Handel event it is self-recommending: As the act ends, Alcina tries to call up evil spirits to stop Ruggiero from leaving her, but her magic fails her.

This latest version was made at the performances last summer under William Christie at the old Paris Opera, the Palais Garnier, as one can hear from the various thumps and other stage sounds, the slight audience noise, and the half-minute or so of enthusiastic applause at the end of each act it would have been justified at many other points.

Her easy, diamond-bright coloratura is close to the ideal for this role and she outclasses her recorded rivals.

The orchestral playing, with a good-sized band strings 9. Less conscious a stylist, perhaps, than Auger, less obviously brilliant than Sutherland, she sings with great intensity. Now from Erato comes a new version, recorded live at the Paris Opera in June last year and aiming, with its starry casting of the leading roles, to challenge both the Decca and EMI sets: Timothy Robinson sings smoothly and gracefully as Oronte, with a pleasantly effortless-sounding delivery, in his arias in Acts 2 and 3 particularly.

Dressed in armor, Bradamante looks like a young man and goes by the name of her own brother, Ricciardo. It is at this point that the audience realises that Alcina genuinely loves Ruggiero; from now until the end of the opera, she is depicted sympathetically.

Auger and Jones perhaps lack the grand vocal personalities of their illustrious predecessors, but they are both accomplished Handelians and the set continues to give pleasure.

As the hippogriff begins to eat the leaves of a myrtle bush, Ruggiero is startled to hear the bush begin to speak. Ruggiero and the hippogriff land on an island in the middle of the ocean.

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Alcina is a commanding figure: Bradamante is in despair, as is Alcina. Ruggiero is horrified and overwhelms Alcina with his jealous fury.Find album reviews, stream songs, credits and award information for Handel: Alcina (Highlights) - Renée Fleming, Natalie Dessay, Susan Graham, William Christie on.

Handel: Alcina (Highlights)

George Frideric Handel, William Christie, Les Arts Florissants, Renee Fleming, Susan Graham, Natalie Dessay, Kathleen Kuhlmann, Timothy Robinson, Laurent Naouri, Juanita Lascarro - Handel: Alcina - ultimedescente.com Music/5(36).

There have been only two recordings of Alcina, Handel’s 30th Italian opera: Richard Bonynge’s with Sutherland, Berganza and Sciutti (, Decca) and Richard Hickox’s Eighties production with Arleen Auger, Della Jones and Eiddwen Harrhy (on EMI).

Auger and Della Jones give warmly engaging and spacious readings.4/5. Find great deals on eBay for alcina cosmetics. Shop with confidence. Find great deals on eBay for handel alcina.

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Handel: Alcina / Christie, Fleming, Graham, Dessay

Handel's Alcina is an opera full of opportunities for "golden age" singing. Erato's assemblage, presided over by William Christie and Les Arts Florissants, brings together Renée Fleming, Susan Graham, and Natalie Dessay in a glorious demonstration of Handelian singing way beyond the merely.

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