Handel - Rinaldo / Bartoli, Daniels, AAM, Hogwood

Handel - Rinaldo / Bartoli, Daniels, AAM, Hogwood

Handel - Rinaldo / Bartoli, Daniels, AAM, Hogwood
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Composer: George Frideric Handel
Conductor: Christopher Hogwood
Orchestra: Academy of Ancient Music
Performer: Cecilia Bartoli
Performer: David Daniels
Performer: Bernarda Fink
Performer: Luba Orgonasova
Performer: Gerald Finley
Performer: Bejun Mehta
Performer: Mark Padmore
Edition: Music CD
Format: Box set
CD Release Date: 2000-10-10
Music Label: Decca
Soundtracks:
Music CD 1
  1. Rinaldo: Ouverture - The Academy Of Ancient Music
  2. Rinaldo: Act 1 - Scene 1: Delle nostre fatiche siam prossimi alla meta (Goffredo) - Bernarda Fink (Goffredo)
  3. Rinaldo: Act 1 - Scene 1: Sovra blaze scoscese e pungenti (Goffredo) - Bernarda Fink (Goffredo)
  4. Rinaldo: Act 1 - Scene 1: Signor, gia dal tuo senno (Goffredo) - Bernarda Fink (Goffredo)
  5. Rinaldo: Act 1 - Scene 1: Combatti da forte - The Academy Of Ancient Music
  6. Rinaldo: Act 1 - Scene 1: Questi saggi consigli accogli net tuo sen (Eustazio) - Daniel Taylor (Eustazio)
  7. Rinaldo: Act 1 - Scene 1: Ogn'indugio d'un amante e una pena - The Academy Of Ancient Music
  8. Rinaldo: Act 1 - Scene 2: Signor, che delle stelle emuli i pregi (Goffredo, Eustazio) - Daniel Taylor (Eustazio)
  9. Rinaldo: Act 1 - Scene 2: Sulla ruota di fortuna va girando la speranza (Eustazio) - Daniel Taylor (Eustazio)
  10. Rinaldo: Act 1 - Scene 3: Sibillar gli angui d' Aletto (Argante) - Gerald Finley (Argante)
  11. Rinaldo: Act 1 - Scene 3: Goffredo; se t'arrise sin qui fortuna (Argante, Goffredo) - Bernarda Fink (Goffredo)
  12. Rinaldo: Act 1 - Scene 3: No, no, che quest'alma scontenti non da (Goffredo) - Bernarda Fink (Goffredo)
  13. Rinaldo: Act 1 - Scene 4: Infra dubbi di Marte resta sospeso il cuore (Argante) - Gerald Finley (Argante)
  14. Rinaldo: Act 1 - Scene 4: Vieni, o cara, a consolarmi (Argante) - Gerald Finley (Argante)
  15. Rinaldo: Act 1 - Scene 5: Furie terribili - The Academy Of Ancient Music
  16. Rinaldo: Act 1 - Scene 5: Come a tempo giungesti, cara (Argante, Armida) - Gerald Finley (Argante)
  17. Rinaldo: Act 1 - Scene 5: Molto voglio, molto spero (Armida) - Luba Organasova (Armida)
  18. Rinaldo: Act 1 - Scene 6: Augelletti che cantate - The Academy Of Ancient Music
  19. Rinaldo: Act 1 - Scene 6: Adorato mio sposo, vieni a bear quest'alma - The Academy Of Ancient Music
  20. Rinaldo: Act 1 - Scene 6: Scherzano sul tuo volto le grazie vezzosette - The Academy Of Ancient Music
  21. Rinaldo: Act 1 - Scene 7: Al valor del mio brando cedi la nobil preda (Armida) - Luba Organasova (Armida)
  22. Rinaldo: Act 1 - Scene 7: Prelude - The Academy Of Ancient Music
  23. Rinaldo: Act 1 - Scene 7: Cara sposa, amante cara, dove sei? - The Academy Of Ancient Music
  24. Rinaldo: Act 1 - Scene 8: Ch'insolito stupore lega gli sensi tuoi (Goffredo, Eustazio) - Daniel Taylor (Eustazio)
  25. Rinaldo: Act 1 - Scene 8: Cor ingrato, ti rammembri, e non scoppii di dolor? - The Academy Of Ancient Music
  26. Rinaldo: Act 1 - Scene 8: lo all'ora impugno il brando (Goffredo, Eustazio) - Daniel Taylor (Eustazio)
  27. Rinaldo: Act 1 - Scene 8: Col valor, colla virtu or si vada a trionfar (Eustazio) - Daniel Taylor (Eustazio)
  28. Rinaldo: Act 1 - Scene 9: Di speranza un bel raggio ritorni - Christopher Hogwood
  29. Rinaldo: Act 1 - Scene 9: Venti, turbini, prestate le vostre ali a questo pie - The Academy Of Ancient Music
Music CD 2
  1. Rinaldo: Act 2 - Scene 1: Siam prossimi al porto (Eustazio) - Daniel Taylor (Eustazio)
  2. Rinaldo: Act 2 - Scene 2: A quei sasso bramato (Goffredo, Eustazio) - Daniel Taylor (Eustazio)
  3. Rinaldo: Act 2 - Scene 3: Per raccor d'Almirena i piu doici respiri - The Academy Of Ancient Music
  4. Rinaldo: Act 2 - Scene 3: Il vostro maggio de' bei verdi anni - The Academy Of Ancient Music
  5. Rinaldo: Act 2 - Scene 3: Qual incognita forza mi spinge (Goffredo, Eustazio) - Daniel Taylor (Eustazio)
  6. Rinaldo: Act 2 - Scene 3: Il Tricerbero umilato - The Academy Of Ancient Music
  7. Rinaldo: Act 2 - Scene 3: Signor, strano ardimento! (Eustazio) - Daniel Taylor (Eustazio)
  8. Rinaldo: Act 2 - Scene 3: Scorta rea di cieco amore (Eustazio) - Daniel Taylor (Eustazio)
  9. Rinaldo: Act 2 - Scene 3: Cio fu indegna vittoria del barbaro Acheronte (Goffredo) - Bernarda Fink (Goffredo)
  10. Rinaldo: Act 2 - Scene 3: Mio cor, che mi sai dir? (Goffredo) - Bernarda Fink (Goffredo)
  11. Rinaldo: Act 2 - Scene 4: Armida dispietata! (Argante) - Gerald Finley (Argante)
  12. Rinaldo: Act 2 - Scene 4: Lascia ch'io pianga mia cruda sorte - The Academy Of Ancient Music
  13. Rinaldo: Act 2 - Scene 4: Ah! sul bel labbro Amore di possente magia formo le note (Argante) - Gerald Finley (Argante)
  14. Rinaldo: Act 2 - Scene 4: Basta che sol tu chieda (Argante) - Gerald Finley (Argante)
  15. Rinaldo: Act 2 - Scene 5: Cingetemi d'allori le trionfali chiome (Armida) - Luba Organasova (Armida)
  16. Rinaldo: Act 2 - Scene 6: Perfida, un cor illustre ha ben forza bastante (Armida) - Luba Organasova (Armida)
  17. Rinaldo: Act 2 - Scene 6: Fermati - No, crudel (Armida) - Gerald Finley (Argante)
  18. Rinaldo: Act 2 - Scene 7: Crudel, tu ch'involasti al mio core la calma (Armida) - Luba Organasova (Armida)
  19. Rinaldo: Act 2 - Scene 7: Abbruccio, avvampo e fremo - The Academy Of Ancient Music
  20. Rinaldo: Act 2 - Scene 8: Dunque i lacci d'un volto (Armida) - Luba Organasova (Armida)
  21. Rinaldo: Act 2 - Scene 8: Ah! crudel, il pianto mio, deh! ti mova (Armida) - Luba Organasova (Armida)
  22. Rinaldo: Act 2 - Scene 9: Riprendiam d'Almirena il mentito sembiante (Armida) - Luba Organasova (Armida)
  23. Rinaldo: Act 2 - Scene 10: Adorata Almirena, ogni breve dimora (Argante, Armida) - Gerald Finley (Argante)
  24. Rinaldo: Act 2 - Scene 10: Vo' far guerra, e vincer voglio (Armida) - Luba Organasova (Armida)
Music CD 3
  1. Rinaldo: Act 3 - Scene 1: Quivi par che rubelle la terra s'alzi (Eustazio, Goffredo) - Daniel Taylor (Eustazio)
  2. Rinaldo: Act 3 - Scene 2: La causa che vi spinge in si remota parte (Goffredo, Eustazio) - Daniel Taylor (Eustazio)
  3. Rinaldo: Act 3 - Scene 2: Sinfonia - The Academy Of Ancient Music
  4. Rinaldo: Act 3 - Scene 2: Qui vomita Cocito tutta sua nera peste (Goffredo, Eustazio) - Daniel Taylor (Eustazio)
  5. Rinaldo: Act 3 - Scene 2: Andate, o forti, fra stragi e morti - The Academy Of Ancient Music
  6. Rinaldo: Act 3 - Scene 3: Mori svenata - O Numi! (Armida) - Luba Organasova (Armida)
  7. Rinaldo: Act 3 - Scene 4: Nella guardata soglia come osaste portar sicuro il piede? (Armida, Goffredo, Eustazio) - Daniel Taylor (Eustazio)
  8. Rinaldo: Act 3 - Scene 4: Sorge nel petto certo diletto (Goffredo) - Bernarda Fink (Goffredo)
  9. Rinaldo: Act 3 - Scene 4: Al trionfo s'affretti senza ritardo il corso! - The Academy Of Ancient Music
  10. Rinaldo: Act 3 - Scene 4: E' Un incendio fra due venti - The Academy Of Ancient Music
  11. Rinaldo: Act 3 - Scene 5: Chiuso fra quelle mura langue il comun valore (Argante) - Gerald Finley (Argante)
  12. Rinaldo: Act 3 - Scene 6: Per formentar lo sdegno a fronte d'un sleal anco mi trovo? (Armida, Argante) - Gerald Finley (Argante)
  13. Rinaldo: Act 3 - Scene 6: March - The Academy Of Ancient Music
  14. Rinaldo: Act 3 - Scene 6: In quel bosco di strali (Argante, Armida) - Gerald Finley (Argante)
  15. Rinaldo: Act 3 - Scene 6: Al trionfo del nostro furore or corriamo (Argante, Armida) - Gerald Finley (Argante)
  16. Rinaldo: Act 3 - Scene 7: Di quei strani accidenti se la serie ripiglio (Argante, Armida) - Gerald Finley (Argante)
  17. Rinaldo: Act 3 - Scene 7: Bel piacere e godere fido amor - The Academy Of Ancient Music
  18. Rinaldo: Act 3 - Scene 8: Signor, l'oste nemica con barbari ululati s'avvicina (Eustavio, Goffredo) - Daniel Taylor (Eustazio)
  19. Rinaldo: Act 3 - Scene 8: Di Sion nell'alta sede (Eustazio) - Daniel Taylor (Eustazio)
  20. Rinaldo: Act 3 - Scene 9: March - The Academy Of Ancient Music
  21. Rinaldo: Act 3 - Scene 9: Se cio t' e in gardo, o Prence (Goffredo) - Bernarda Fink (Goffredo)
  22. Rinaldo: Act 3 - Scene 9: Or la tromba in suon festante mi richiama a trionfar - The Academy Of Ancient Music
  23. Rinaldo: Act 3 - Scene 10: Miei fidi, ecco la in campo colmo di mille furti (Argante) - Gerald Finley (Argante)
  24. Rinaldo: Act 3 - Scene 11: Magnanimi campioni, ecco l'ultimo giorno delle vostre fatiche (Goffredo) - Bernarda Fink (Goffredo)
  25. Rinaldo: Act 3 - Scene 11: Solo dal brando, dal senno solo della vittoria (Goffredo) - Bernarda Fink (Goffredo)
  26. Rinaldo: Act 3 - Scene 11: Battaglia - The Academy Of Ancient Music
  27. Rinaldo: Act 3 - Scene 12: Gofferdo, ecco il superbo in lacci avolto (Argante, Goffredo) - Bernarda Fink (Goffredo)
  28. Rinaldo: Act 3 - Scene 13: Ecco, german, la cruda (Eustazio, Argante, Armida, Goffredo) - Daniel Taylor (Eustazio)
  29. Rinaldo: Act 3 - Scene 13: Vinto e sol dalla virtu degli affetti il rio livor (Armida, Eustazio, Argante, Goffredo) - Daniel Taylor (Eustazio)

Music reviews of Handel - Rinaldo / Bartoli, Daniels, AAM, Hogwood

Music Review: Superb recording of Handel's first smash hit in London in 1711
Rating: 5 Stars

It is instructive to remember that when Handel went to Italy in 1707 to further his studies of composition and to study Italian Opera, that Opera was only a century old. It had begun in Italy in the early seventeenth century and was beginning to spread to other cities and courts in Europe. Opera was still sung in Italian and continued in that language simply because the great singers were Italian and preferred singing in their own language. When the popular arias were published, they were usually done in translation and sold by the ton making the publishers, and sometimes the composers, a great deal of money.

While it is not exactly clear how and why Handel was brought to London, he soon made a name for himself with the smash hit "Rinaldo". This opera is a fantasy or fairy tale based upon the notion of the Crusade to take Jerusalem around 1100 AD as a duty of Christian faith. As in most operas, the plot is quite convoluted in order to provide the maximum opportunity for the various kinds of singing the great singers could provide. One of the interesting features of opera at this time was the notion of two contrasting styles. There was the brilliant singing of great virtuosity and then there was the slower singing of great emotion. Many people were a fan of one style or the other, and many singers specialized in one or the other. It was dazzle them or make them weep. The greatest singers could do both. This opera provides every lead character with opportunities for both styles of singing and says a lot about the quality of singers Handel had at his disposal.

Handel's operas were not sung for a long time because of another feature of Italian opera at this time: the castrati. Young boys who were brilliant singers (and remember singers were servants and often drawn from lower classes) prolonged their career by having their testicles destroyed in a variety of ways in order to keep puberty from ruining their brilliant voice. So, they not only continued to sing at the high register we nowadays associate with women (but were not so then), they also developed greater lung capacity and vocal skill. They were among the most popular and sought after singers of their time. They did not sing in falsetto like Frankie Valli, but in a very strong full voice.

In the 1920s, Handel's operas began to be revived with women singing the roles of the castrati and later a male voice we now call the counter-tenor developed. In the past few decades some very brilliant counter-tenors have come on the scene and one of the greatest, David Daniels, sings the role of Rinaldo on this recording. It is also interesting that not all male roles went to males. From the very first performance the role of the commander of the Christian forces, Goffredo, has been given to a woman and wonderfully sung by Bernarda Fink here.

So, what is the opera about? Goffredo is leading forces to take Jerusalem from the Muslims. He offers his daughter, Almirena (sung by the acclaimed Cecilia Bartoli) to Rinaldo if he will help them take the city. The Muslims are lead by Argante (the superb Gerald Finley) who uses the powers of his sorceress wife, Armida (the terrific Luba Orgonasova) to kidnap Almirena and later ensnare Rinaldo as he comes for his betrothed. In captivity, Rinaldo and Almirena sing forlornly. Armida is smitten with Rinaldo and takes on the form of Almirena to deceive Rinaldo, but he is not deceived. Argante goes after Almirena. Both hero and heroine resist the seductions. Armida again takes the form of Almirena to trap Argante in his betrayal of her.

Goffredo and his brother Eustazio (the fine Daniel Taylor) go to a Christian magician and receive magic wands with which they destroy the castle and free Rinaldo and Almirena. The fight between the forces is finally engaged and Rinaldo captures the city and wins the day. Argante and Armida flee, but are captured. She renounces her powers and they convert to the Christian faith. All ends with the usual ensemble singing about evil being defeated by virtue alone and happiness only coming to a heart with purpose.

Think about all the dramatic possibilities! Sorceress flying in the air, smoke, thunder (the thunder machines were terrific in 1711 and are used in this recording), lightning, destroying castles by magic, armies, horns, despair, pathos, heroism, and victory. The stagecraft was fantastic and was exploited to the hilt, although that is not available to us in this recording.

This is a fine opera and you will find much to enjoy. The disks come with a fine booklet that contains a good history of the opera and the libretto in Italian and English.

It was not for nothing that Beethoven called Handel the greatest composer who ever lived and that he would uncover his head and kneel down at his tomb.
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