Handel's Italians : italian castrati in the London oratorios

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Musique

Handel's Italians : italian castrati in the London oratorios

Georg Friedrich Händel (1685-1759). Compositeur

Carlo Vistoli, contre-ténor ; Le Concert D'Astrée, ensemble vocal et instrumental ; Emmanuelle Haïm, direction

Edité par Harmonia mundi musique s.a.s. - paru en P 2026

Quand Haendel s'installe à Londres, il y invente un nouveau théâtre musical qui conquiert le public anglais et fait entrer l'opéra dans la modernité : bousculant les usages locaux, il impose un dramatisme et des couleurs venus d'Italie, portés par les voix des plus grands castrats de la Péninsule. Carlo Vistoli s'empare de cet héritage, faisant revivre quelques-uns des plus grands airs créés à Londres par ses illustres compatriotes.

Type de document: Musique

Titre: Handel's Italians : italian castrati in the London oratorios

Auteur: Georg Friedrich Händel (1685-1759). Compositeur
Contributeurs: Haïm, Emmanuelle (1967-....). Chef d’orchestre
Vistoli, Carlo (1987-....). Contre-ténor
Le Concert d'Astrée. Musicien

Genre musical: Musique classique - Musique vocale sacrée

Langue: anglais

Edité par: Harmonia mundi musique s.a.s.
Paru en: P 2026

Format: | 1 disque compact ; 1 brochure

Public visé

Adulte

Note

CD audio
Diamant d'Opéra Magazine

EAN: 3149020957035
N° du document: HMM 902795 (Harmonia mundi)

Concerto Grosso in D minor, Op. 6 No. 10, HWV 328: I. Overture
Esther, HWV 50b (1732 version), act II, scene 3: Aria. How can I stay when love invites (Ahasuerus)
Esther, HWV 50b (1732 version), act II, scene 3: Recitative. Who dares intrude into our presence (Ahasuerus, Esther)
Esther, HWV 50b (1732 version), act II, scene 3: Duet. Who calls my parting soul from death? (Ahasuerus, Esther)
Deborah, HWV 51 (1733 version), act I, scene 3: Recitative. I go where heav'n and duty call (Barak)
Deborah, HWV 51 (1733 version), act I, scene 3: Aria. All danger disdaining (Barak)
Deborah, HWV 51 (1734 version), act I, scene 1: Aria. Più bella spoglia sarà fral (Barak)
Deborah, HWV 51 (1733 version), act II, scene 2: Recitative. Great prophetess, my soul's on fire (Barak)
Deborah, HWV 51 (1733 version), act II, scene 2: Aria. In the battle, fame pursuing (Barak)
Belshazzar, HWV 61 (1751 version), act I, scene 2: Recitative. Can you then think it strange (Cyrus)
Belshazzar, HWV 61 (1751 version), act I, scene 2: Aria. Great god! Who yet but darkly known (Cyrus)
Theodora, HWV 68 (1750 version), act I, scene 2: Recitative. Most cruel edict! (Didymus)
Theodora, HWV 68 (1750 version), act I, scene 2: Aria. The raptur'd soul defies the sword (Didymus)
Theodora, HWV 68 (1750 version), act II, scene 6: Accompagnato, recitative. Forbid it, Heav'n! (Didymus, Theodora)
Theodora, HWV 68 (1750 ersion), act II, scene 6: Duet. To thee, thou glorious son of worth (Didymus, Theodora)
Saul, HWV 53 (1741 version), act III, scene 5: Aria. Di Jonathan lo stral porto (David)
Messiah, HWV 56 (1750 version), part I: Aria. But who may abide the day of his coming?
Athalia, HWV 52 (1735 version), act III, scene 1: Recitative. Chi ha la pietade e 'l zelo (Joad)
Athalia, HWV 52 (1735 version), act III, scene 1: Aria. Cor fedele spera sempre (Joad)
Athalia, HWV 52 (1735 version), act III: Recitative. Now, Josabeth, thy fears are o'er (Joad, Josabeth)
Athalia, HWV 52 (1735 version), act III: Aria. Angelico splendor (Joad)

Concerto Grosso in D minor, Op. 6 No. 10, HWV 328: I. Overture
Esther, HWV 50b (1732 version), act II, scene 3: Aria. How can I stay when love invites (Ahasuerus)
Esther, HWV 50b (1732 version), act II, scene 3: Recitative. Who dares intrude into our presence (Ahasuerus, Esther)
Esther, HWV 50b (1732 version), act II, scene 3: Duet. Who calls my parting soul from death? (Ahasuerus, Esther)
Deborah, HWV 51 (1733 version), act I, scene 3: Recitative. I go where heav'n and duty call (Barak)
Deborah, HWV 51 (1733 version), act I, scene 3: Aria. All danger disdaining (Barak)
Deborah, HWV 51 (1734 version), act I, scene 1: Aria. Più bella spoglia sarà fral (Barak)
Deborah, HWV 51 (1733 version), act II, scene 2: Recitative. Great prophetess, my soul's on fire (Barak)
Deborah, HWV 51 (1733 version), act II, scene 2: Aria. In the battle, fame pursuing (Barak)
Belshazzar, HWV 61 (1751 version), act I, scene 2: Recitative. Can you then think it strange (Cyrus)
Belshazzar, HWV 61 (1751 version), act I, scene 2: Aria. Great god! Who yet but darkly known (Cyrus)
Theodora, HWV 68 (1750 version), act I, scene 2: Recitative. Most cruel edict! (Didymus)
Theodora, HWV 68 (1750 version), act I, scene 2: Aria. The raptur'd soul defies the sword (Didymus)
Theodora, HWV 68 (1750 version), act II, scene 6: Accompagnato, recitative. Forbid it, Heav'n! (Didymus, Theodora)
Theodora, HWV 68 (1750 ersion), act II, scene 6: Duet. To thee, thou glorious son of worth (Didymus, Theodora)
Saul, HWV 53 (1741 version), act III, scene 5: Aria. Di Jonathan lo stral porto (David)
Messiah, HWV 56 (1750 version), part I: Aria. But who may abide the day of his coming?
Athalia, HWV 52 (1735 version), act III, scene 1: Recitative. Chi ha la pietade e 'l zelo (Joad)
Athalia, HWV 52 (1735 version), act III, scene 1: Aria. Cor fedele spera sempre (Joad)
Athalia, HWV 52 (1735 version), act III: Recitative. Now, Josabeth, thy fears are o'er (Joad, Josabeth)
Athalia, HWV 52 (1735 version), act III: Aria. Angelico splendor (Joad)

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Handel's Italians : italian castrati in the London oratorios

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