Ver 1.5 [Import]

Ver 1.5 [Import]

Editorial Reviews
Product Description
Japanese pressing of 2004 release, scheduled to include one exclusive bonus track. Details TBA. BMG.

Tracks:

Solo E Pensoso A 5
S'una Fede Amorosa A 8
Di Pensier In Pensier A 6
Tutto'l Di Piango A 5
Cantai, Hor Piango A 5
Che Fai, Alma? A 7
La Ver' L'aurora A 5
Mia Benigna Fortuna A 5
Io Son Si Stanco Sotto A 5
I'vo Piangendo A 5

Customer Reviews:

Achingly beautiful.......2007-01-01

This is sublime. It is a remarkably fine recording of pure, generous, fluid choral music.

Totally gorgeous.......2005-07-16

Orlando Lassus (1532- 1594) is a Renaissance composer who truly stands out as being one of the outstanding Humanist artists of his age. Although Flemish by birth, he was one of the most cosmopolitan composers of his age, who spoke several languages and worked variously in Palermo, Mantua, Milan, Naples, Florence, Rome, Antwerp and lastly in Munich. If you go to Munich, even today you will find that the famous Hofbräuhaus (that famous haunt of Oktoberfest revellers) stands on none other than Orlando Platz, named in honour of Lassus. Of all Renaissance composers he stands out as the one who wrote the most sensuously appealling music which nonetheless maintains enormous depth and richness. As a child prodigy who went on to write effortlessly inspired music he seriously rivals Mozart. In fact as an unusually talented child, gifted with a beautiful voice, he was kidnaped no less than three times for other choirs. After the third attempt, in 1544, his parents finally gave up their 12 year old son to Ferdinand Gonzaga, Viceroy of Sicily.

It is entirely appropriate than Lassus should also have chosen the texts of the Humanist poet Francesco Petrarca. Over a period of almost fourty years, Lassus remained devoted to Petrarca and continued to explore his texts over this period of time. The results were madrigals of great harmonic depth and subtlety.

The performances here present a wonderful case for Lassus as one of the greatest of madrigalists amongst composers of the Seconda Prattica. The style here is very different from the more florid arioso style of the younger generation, being more subdued and introspective. However the results here are simply gorgeous. The effortless melodic line that Lassus commands is simply divine and makes immensely attractive listening. In fact this lovely CD is terribly hard to stop listening to!

An essential Lassus CD if there ever was one.

Average customer rating:

Monteverdi: Madrigali

Manufacturer: EMI Classics Imports
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

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Monteverdi: Selva morale e spirituale
Claudio Monteverdi: Ottavo Libra dei Madrigali - Madrigali Guerrieri et Amorosi
Monteverdi: Concerto Settimo Libro dei Madrigali
Monteverdi: Madrigals / Rooley, The Consort of Musicke
Biber: The Mystery Sonatas

ASIN: B000093U3L
Release Date: 2004-02-03

Monteverdi - Madrigali guerrieri ed amorosi / Concerto Köln, Jacobs

Average customer rating:

At times, great and at other times...well... er.....
Monteverdi used 'cornets'?!

Monteverdi - Madrigali guerrieri ed amorosi / Concerto Köln, Jacobs
Salomé Haller , Maria Cristina Kiehr , Jeremy Ovenden , and Concerto Köln
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Josquin Desprez: Missa Fortuna Desperata
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Bach - Brandenburg Concertos / Il Giardino armonico

ASIN: B00006L7TB
Release Date: 2003-03-11

Tracks:

Altri Canti D'Amore, Tenero Arciero
Hor Che 'L Ciel E La Terra E 'L Vento Tace
Gira Il Nemico Insidioso Amore
Se Vittorie Si Belle
Armato Il Cor D'adamantina Fede
Ogni Amante E Guerrier: Nel Suo Gran Regno
Ardo, Avvampo
Il Combattimento Di Tancredi E Clorinda
Introdutione Al Ballo E Ballo
Altri Canti Di Marte E Di Sua Schiera

Tracks:

Vago Augelletto
Mentre Vaga Angioletta
Ardo E Scoprir, Ahi Lasso, Io Non Ardisco
O Sia Tranquillo Il Mare O Pien D'orgoglio
Ninfa Che, Scalza Il Piede
Dolcissimo Uscignolo
Chi Vol Haver Felice E Lieto Il Core
Lamento Della Ninfa. Non Havea Febo Ancora
Perche Ten Fuggi, O Fillide
Non Partir, Ritrosetta
Su, Su, Su, Pastorelli Vezzosi
De L'implacabil Dio
Udite, Donne, Udite!
Bella Madre D'Amor
Ecco Ver Noi L'addolorate Squadre
Ahi Troppo Ahi Troppo E Duro!

Amazon.com

You might think that two-and-a-half hours of Monteverdi madrigals would become tiresome or repetitive, but think again: here is a composer whose ability to combine voices and instruments (actually, it's conductor Rene Jacobs who, for the most part, has chosen the instruments, which include strings, trombones, cornets, organ, and percussion--brilliantly, colorfully, and dramatically) became greater as he aged, and these are among his latest works. Some pieces are long and dramatic, indeed, operatic: Il combattimento di Tancredi e Clorinda is sung to us by baritone Victor Torres with such urgency that it might be compared with an old Orson Welles radio drama. The subtitle of the collection—"Madrigals of War and Love"--really tells it all; fascinatingly, the warring within a lover's breast is just as passionate as true battle. The texts, some by such luminaries as Petrarch and Tasso are as worthy as the music, and Monteverdi's great gift--his ability to wed words to music--is in evidence in all of these works. Emotions run from self-pity to adoration to rage, and Jacobs and his band of singers--every one a virtuoso--make each come to life. Their technical skill, comprising seemingly endless breath, stunning legato, and every embellishment known to the Renaissance and Baroque, is matched by the loveliness and expressive quality of their tone. This is a perfect collection, ravishingly conceived, recorded, and performed. --Robert Levine

Customer Reviews:

At times, great and at other times...well... er............2003-08-27

First things first.
'Cornet', with a single T, is a perfectly acceptable spelling of the word for the Baroque cornetto - cornett, cornetta, cornèta, Kornett, cornet à bouquin, corno, cornio, Zink, Zinge, Zinggen and Recht Chor-Zink (et cetera) are all historical variations. The spelling with the single T was the original spelling - the double T spelling was adopted in the 20th century to save confusion with the cornett's modern brass band name sake.

Okay! So what's this CD like?
Well, its pretty good and much of it is very good. The music is 'orchestrated' with cornet(t)s, trombones, a dulcian and percussion - as well as the violins, viols and continuo mentioned by the composer. Maybe René Jacobs is suggesting that this music might have been performed like this for an aristocratic audience? Maybe, maybe not, however, Monteverdi and/or his publisher only suggest strings and continuo in the instrumental forces needed to perform this music. The cornetts and sackbuts sound splendid in madrigals like 'Altri canti d'Amor' even if their inclusion would have surprised Claudio Monteverdi! The string and continuo groups play very well and very idiomatically.

This brings us to the question of the voices used. Some of the singers are simply too operatic in their approach for this kind of music. One of the tenors sings in a highly charged way that would not be out of place in 19th century Italian opera. Bernarda Fink, as usual, uses too much vibrato - more than one would reasonably expect in a modern performance of Mozart or, indeed, Verdi - let alone Monteverdi! However, there is some great singing here, too - Maria Cristina Kiehr is an excellent Monteverdian. When the voices all sing together, as in 'Altri Canti d'Amore', the voices tend to jar and there is little sense of ensemble. We are presented with a group of not terribly compatible soloists singing together rather than a traditional madrigal vocal ensemble. Of course, this is my response to this recording and others may be delighted with this approach.

This is the first truly complete L'ottavo libro de madrigali available in one set on two CDs and for that reason it is a worthy introduction to this music.

Alessandrini's group and Anthony Rooley's The Consort of Musicke have also recorded these works and I have enjoyed all these different interpretations. Jacobs can be perverse and wayward in his interpretations but he can also make the music sing and dance like no one else. I will continue to enjoy most of his opera recordings and most of this madrigal set.

Monteverdi used 'cornets'?!.......2003-04-02

Though I have not listened to this particular CD of Monteverdi's Madrigali guerrieri et amoroso, I'm certain that cornets, the modern small brass instrument used in marching bands would not be appropriate. A cornett (or cornetti) the Renaissance wind instrument, made of wood and covered in leather, was used by Monteverdi, and would be quite appropriate, and I think that is what is being used in the CD.

Average customer rating:

La Musique de la bible revelee
Opera singing in Ancient Israel?
Musically Compelling, But Is It Correct?
5 stars for its importance, 4 for its performance

La Musique de la BIBLE revelee'
Suzanne Haik-Vantoura , Adolphe Attia , Michel Scherb , Emile Kacmann , and Martine Geliot
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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The Music of the Bible Revealed: The Deciphering of a Millenary Notation
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ASIN: B00004TVH6
Release Date: 2000-10-10

Tracks:

Psaume 23 'L'Eternal Est Mon Berger'
Benediction Sacerdotale (Nombres VI, 22)
Psaume 24 'A L'Eternel Appartient La Terre'
Cantique Des Cantiques (I, 1)
Psaume 6
Lamentations (I,1)
Psaume 133
'Ecoute, Israel' (Deuteronome VI, 4)
Psaume 150 'Alleluia!'
Elegie De David (II Samuel I, 19)
Psaume 122 'Je Suis Joyeux Lorsqu'on Me Dit...'
Psaume 123 'Vers Toi J'Eleve Mes Regards...'
Esther (V, 1)
Le Buisson Ardent (Exode III, 1)

Customer Reviews:

La Musique de la bible revelee.......2007-05-15

It is very intriguing to listen music which is claimed to be reconstructed from writings in the margin of old biblical text. And the music is sounding authentic and modern at the same time.

Opera singing in Ancient Israel?.......2006-09-10

This CD was based on the work of Suzanne Haik who decoded the music contained in ancient Hebrew texts. I expected to hear the sound of ancient music and instead, I was subjected to 18th century European Ideals of how the human voice should sound - OPERATIC!!! Aweful! I'm sure the sages and priests of the ancient temples were not performing Wagner and Mozart.

This is typical of reproductions of Ancient music - using Opera singers because they are considered "classical". This is a poor way to perform this music. The real people who would have sung these psalms would be sheppards, working class folks, and preists in temples - not Opera singers......

Musically Compelling, But Is It Correct?.......2002-08-07

"The Music of the Bible Revealed" is a fascinating CD, which I bought primarily so I could hear Biblical Hebrew sung at my convenience. Little did I realize the arcane nature of this work. Regarding the notes accompanying the disc, and the other review posted here, though, I am somewhat dubious as the the correctness of the theory by which this music was produced. Vantoura's work was to decipher the markings around the words in the Masoretic text of the Hebrew Bible, I gather in conjunction with the text, as music, that is notatable in the modern style. This is pretty far out. Perhaps even farther out is the notion that these markings represent the actual music sung at the temple in Jerusalem prior to 70 CE. This theory, however, overlooks one very important fact. The oldest Hebrew Biblical texts we have, from Qumran, written while the temple was operating, and for a little while after, possess neither vowel markings nor what are now generally considered cantillation marks. These marks appear, along with the vowel marks, only in Medieval manuscripts. Early Medieval Christian music was signified in a similar manner, with markings above the Latin text, which are now poorly understood. A Benedictine music professor of mine suggested that these were memnonic devices as part of an essentially oral transmission process. To me it seems more likely than not, that the marking of the Masoretic text were part of a similar development, and not inherent in the original composition of the text. Transformation of the MT into music seems like a typically Kabbalistic enterprize.Whatever the truth is, however, this disc is very interesting. Many of the chants are unaccompanied, some utilize a spare harmonic choir and instrumentation. The music sounds as Medieval as Middle Eastern, and resembles the music of Machaut at times. The performance is solid, and well-recorded, but never quite inspired. Still, an intriguing CD

5 stars for its importance, 4 for its performance.......2001-02-01

The Psalms and songs of the Bible are of course well-known to all Bible students. What is not so commonly known is that all of Hebrew Scripture was originally meant to be sung -- and that to instrumental accompaniment. "Your statutes have been my *zemirot* (songs accompanied by harp or lyre) in the house of my pilgrimage" (Psalm 119:54). The vocal melodies are said to be contained in the "musical accents" (*te`amim*) of the Hebrew Masoretic Text.

Suzanne Haik-Vantoura (d. September 22, 2000) sought to rediscover the original musical meaning of the *te`amim*, which have been given many different musical interpretations by the synagogue communities. Starting from the premise that the *te`amim* are primarily musical (not primarily exegetical as the Masoretes assumed), and using the Hebrew verbal syntax as her "Rosetta Stone" (technically, her "virtual bilingual"), she systematically derived a "deciphering key" capable (for the first time) of explaining all the features of the notation and its relationship to the words. Moreover, she discovered evidence that the *te`amim* (which transcribe a system of hand- and finger-gestures used to conduct music) actually preserve the melodies created by the biblical authors and transmitted along with their own words.

This Harmonia Mundi France recording is the first of eight that have been produced to date. (The others, produced by Alienor, are available only from France or other locations outside the U.S.) It is the shortest, and in some ways the least well-produced, but has the greatest variety of texts for its size. (Modern instruments are used; the instrumental arrangements and choral harmonies are meant to evoke, not to reconstruct, the original settings.) The marvelous renditions of Pss. 23, 24 and 122, plus the Elegy of David, alone make the purchase worthwhile. While there are some transcription errors in some melodies, they do not seriously affect the simple, yet profound character of the arrangements.

This recording (properly called *La musique de la Bible revelee*) originally appeared as an LP in 1976, along with the first edition of the French book of the same title. The LP won a *Diapson d'Or* (Gold Tuning Fork) and other awards in France; the book (2nd ed.), the Prix Bernier from the Institute of France. The English translation of the French book is likewise available ...

Amazon.com

For all Vivaldi's current popularity, his nearly 50 operas continue to languish in undeserved obscurity. This live performance of his 1727 hit, Farnace, should help rectify posterity's oversight, for the music is compelling and the spirited singing and conducting are irresistible. The plot is a typical 18th-century opera narrative concerning people in ancient times whose confusing doings resist concise summary, but combine family discord, high politics, hate, love, and forgiveness. Jordi Savall leads his crack period instrument ensemble in a spirited rendition that stresses dramatic values. His sterling cast has no discernible weak links and several especially strong ones, such as baritone Furio Zanasi in the title role, contralto Sara Mingardo as his wife, and the daughter of the villainess of the opera, Farnace's arch-rival, Queen Berenice, soprano Adriana Fernandez. In fact, everybody sings with dramatic abandon and uses stunning coloratura effects. Savall also interpolates about 20 minutes of music from another Farnace opera written a dozen years later by Francesco Corselli, emulating the period practice of inserting materials by other contemporary composers. The fluent singing and dynamic drive of the orchestra make this among the best recordings of Baroque Italian opera. The format is a book-style packaging, with lavish illustrations, full text, and translations. --Dan Davis

Customer Reviews:

One of the best opera recordings ever.......2004-08-15

I agree wholeheartedly with the reviewers below. I am relatively new to vocal music and I tend to respond on a wholly emotional level.
Some Baroque operas with lenghty recitives tend to bore me. But Savall and his cast have brought to life even those passages of the opera. The cast was recorded live in a Madrid opera house. Not all live recordings of operas are successful. But Savall and company have left me all atingle an hour after I finished listening.
I realize that two other reviewers have given much more lucid, analytical reviews, but I was just wowed by this recording so much.
I recommend this not just to baroque opera or Vivaldi lovers but as a CD that belongs in every classical music lover's collection.

Totally brilliant Vivaldi.......2004-06-23

I agree wholeheartedly with reviewer Glidden's very expert review with the sole exception that I am madly in love with Sara Mingardo and although I am basically a soprano-lover, Sara is my absolute favorite Vivaldi singer. You should also purchase La Verità in Cimento, L'Olimpiade and Vespri per l'Assunzione di Maria Vergine. You will be totally convinced of her tremendous ability. The CDs come with an absolutely superb libretto. There is one minor flaw in this whole thing but by no means should you permit it to deter you from purchasing this work. The CDs are actually stored in slip-in jackets which are pages in the libretto. It cannot possibly be beneficial for the CDs to be put in and pulled out of these very tight jackets. Very definitely buy this work and then do yourself a big favor by buying a couple of empty jewel cases and storing the CDs in them as CDs should be stored. It will be well worth the small price (I buy them 3 for about $5).

Requiem for a dead son.......2003-06-27

Vivaldi's vocal music will, I believe, eventually be adulated on a level approaching Bach's. For those who have labored through the rocky trails of bizarre, overpriced, and obscure recordings of his sacred music, recently revitalized by Robert King and Rinaldo Alessandrini, to name two, his operatic repertoire is a godsend, all the more so since these latter CD's have been favored by truly excellent singers. And no wonder. Who, other than Bach (and, to lesser extent, Handel), forges the indissassociable link between instrumental and vocal writing, giving us wind instruments that sigh and weep and cadenzas that soar like violins (or, in the case of our altos, like violas)? Jordi Savall's Farnace is bold. The more-or-less incomprehensible plot, with its gratuitious secondary love story, is simply the occasion for the music. This is the forgiveness we have to extend to these Venetian operas in order to enter them. When they are graced with such singers as these, the music opens our ear, heart, and mind and lets the trumpet call in. I bought this recording, (full-price!), for its three contralti, Sara Mingardo, Gloria Banditelli, and, my current favorite, Sonia Prina. Ms Mingardo and Ms. Banditelli are long-time heralds of the true contralto in baroque music, but only Ms. Prina, at the ripe old age of 29, makes my heart both thrill and melt. Perhaps less so in this recording than her Aristea in Alessandrini's Olympiade with her incomparably languid force, than here with her Marilyn Horne-worthy coloratura, but as part of this ensemble her major talent announces a great work. I will confess another miscasting in the role of the "Amazone d'Oriente" Berenice in Ms. Fernandez (too sweet for a murderous, tyranical queen! Her photo belies the role 100%) but the blame lies elsewhere than in her voice. The surprises came with Cinzi Forte, aptly named indeed, and her wind-swept mastery, and even more so, Furio Zanasi, whom I have not heard since Rene Jacob's legendary Guilio Cesare (Achilla). His full-throated approach to singing can leave one overwhelmed, but that is desireable here in a man bent with grief for his dead son. His 9:09 minute long aria "Gelido in ogni vena" is beyond the pale, metaphor intended.
There is much to discover in these three disks and Savall's additions from Corselli's version are ultimately enriching. Final note: the set photos are dramatic, baroque, and utterly splendid, making you regret having missed the performance and hoping fervently for its revival.

Mozart: La clemenza di Tito / Harnoncourt

Average customer rating:

good dramatic performance
Stunning music
Wonderful rendition of La Clemenza
Beautiful recording

Mozart: La clemenza di Tito / Harnoncourt
Wolfgang Amadeus Mozart , Zurich Opera-house Chorus & Orchestra , Nikolaus Harnoncourt , Lucia Popp , Ann Murray , Philip Langridge , Delores Ziegler , Ruth Ziesak , and Laszlo Polgar
Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
ASIN: B000000SJC
Release Date: 1994-03-08

Tracks:

La Clemenza di Tito: Ouverture
La Clemenza di Tito: Act 1: Recitativo 'Ma chsempre l'istesso' (Vitellia, Sesto)
La Clemenza di Tito: Act 1: No. 1 Duetto 'Come ti piace imponi' (Sesto, Vitellia)
La Clemenza di Tito: Act 1: Recitativo 'Amico, il passo affretta' (Annio, Vitellia, Sesto)
La Clemenza di Tito: Act 1: No. 2 Aria 'Deh se piacer mi vuoi' (Vitellia)
La Clemenza di Tito: Act 1: Recitativo 'Amico, ecco il momento' (Annio, Sesto)
La Clemenza di Tito: Act 1: No. 3 Duettino 'Deh prendi un dolce amplesso' (Annio, Sesto)
La Clemenza di Tito: Act 1: No. 4 Marcia
La Clemenza di Tito: Act 1: No. 5 Coro 'Serbate, oh Dei custodi' (Coro)
La Clemenza di Tito: Act 1: Recitativo 'Basta, basta' (Tito, Annio, Sesto)
La Clemenza di Tito: Act 1: No. 6 Aria 'Del pilime soglio' (Tito)
La Clemenza di Tito: Act 1: Recitativo 'Non ci pentiam' (Annio, Servilia)
La Clemenza di Tito: Act 1: No. 7 Duetto 'Ah perdona al primo affetto' (Annio, Servilia)(Tito, Publio)
La Clemenza di Tito: Act 1: Recitativo 'Che mi rechi in quel foglio?' (Tito, Publio)
La Clemenza di Tito: Act 1: Recitativo 'Di Tito al pi(Servilia, Tito)
La Clemenza di Tito: Act 1: No. 8 Aria 'Ah, se fosse intorno al trono' (Tito)
La Clemenza di Tito: Act 1: Recitativo 'Felice me!' (Servilia, Vitellia)
La Clemenza di Tito: Act 1: Recitativo 'Ancora mi schernisce' (Vitellia, Sesto)
La Clemenza di Tito: Act 1: No. 9 Aria 'Parto, ma tu ben mio' (Sesto)
La Clemenza di Tito: Act 1: Recitativo 'Vedrai, Tito, vedrai' (Vitellia, Publio, Annio)
La Clemenza di Tito: Act 1: No. 10 Terzetto 'Vengo... aspettate' (Vitellia, Publio, Annio)
La Clemenza di Tito: Act 1: No. 11 Recitativo accompagnato 'Oh Dei, che smania' (Sesto)
La Clemenza di Tito: Act 1: No. 12 Quintetto con coro 'Deh, conservate, oh Dei' (Sesto, Annio, Servilia, Publio, Vitellia, Coro)

Tracks:

La Clemenza di Tito: Act 2: Recitativo 'Sesto, come tu credi' (Annio, Sesto)
La Clemenza di Tito: Act 2: No. 13 Aria 'Torna di Tito a lato' (Annio)
La Clemenza di Tito: Act 2: Recitativo 'Partir deggio, o restar?' (Sesto, Vitellia)
La Clemenza di Tito: Act 2: Recitativo 'Sesto! -- Che chiedi?' (Publio, Sesto, Vitellia)
La Clemenza di Tito: Act 2: No. 14 Terzetto 'Se al volto mai ti senti' (Sesto Vitellia, Publio)
La Clemenza di Tito: Act 2: No. 15 Coro 'Ah grazie si rendano' (Coro, Tito)
La Clemenza di Tito: Act 2: Recitativo 'Andremo, Publio' (Tito, Publio)
La Clemenza di Tito: Act 2: No. 16 Aria 'Tardi s'avvede' (Publio)
La Clemenza di Tito: Act 2: Recitativo 'No, coscellerato' (Tito, Annio, Publio)
La Clemenza di Tito: Act 2: No. 17 Aria 'Tu fosti tradito' (Annio)
La Clemenza di Tito: Act 2: Recitativo accompagnato 'Che orror! che tradimento!' (Tito)
La Clemenza di Tito: Act 2: No. 18 Terzetto 'Quello di Tito l volto!' (Sesto, Tito, Publio)
La Clemenza di Tito: Act 2: Recitativo 'Eppur mi fa piet(Tito, Sesto)
La Clemenza di Tito: Act 2: No. 19 Rondo 'Deh per questo istante solo' (Sesto)
La Clemenza di Tito: Act 2: Recitativo 'Ove s'intese mai pitumace infedelt (Tito)
La Clemenza di Tito: Act 2: Recitativo 'Publio. -- Cesare.' (Tito, Publio)
La Clemenza di Tito: Act 2: No. 20 Aria 'Se all'impero, amici Dei' (Tito)
La Clemenza di Tito: Act 2: Recitativo 'Non giova lusingarsi' (Vitellia, Servilia, Annio)
La Clemenza di Tito: Act 2: No. 21 Aria 'S'altro che lacrime' (Servilia)
La Clemenza di Tito: Act 2: No. 22 Recitativo accompagnato 'Ecco il punto, o Vitellia' (Vitellia)
La Clemenza di Tito: Act 2: No. 23 Rondo 'Non pifiori' (Vitellia)
La Clemenza di Tito: Act 2: No. 24 Coro 'Che del ciel, che degli Dei' (Coro)
La Clemenza di Tito: Act 2: Recitativo 'Sesto, de' tuoi delitti' (Tito, Vitellia)
La Clemenza di Tito: Act 2: No. 25 Recitativo accompagnato 'Ma che giorno ai questo?' (Tito)
La Clemenza di Tito: Act 2: No. 26 Sestetto con Coro 'Tu, er, m'assolvi' (Sesto, Tito, Vitellia, Servilia, Annio, Publio, Coro)

Customer Reviews:

good dramatic performance.......2004-08-21

this is a good recording of lcot that emphasizes the dramatic potential of the work. the singing and acting are well matched by harnoncourt's driven conducting. the only problem are the women's voices are not easily differentiated. there are four girls in principal roles, two sopranos and two mezzos, but they all have very similar timbres and it's not easy to tell who is who w/o following along with the libretto.

not a bad performance, otherwise, though personally, while i prefer the more courtly and elegant approach of hogwood on his recording (with bartoli, jones, bonney et al). with hogwood one can see why lcot is considered by some mozart's 'most perfect opera', a 'beautiful work of art'.

Stunning music.......2004-08-19

When the average music fan, even those reasonably well-versed in opera, are asked to list the major Mozart operas, this particular piece -- La Clemenza di Tito -- rarely gets mentioned. However, it is a stunning piece, under-appreciated and under-performed. It is Mozart's last opera (most people popularly think that is 'The Magic Flute'; however, 'Magic Flute' is no. K620, whereas 'La Clemenza' is no. K621 in the catalogue of Mozart's compositions.

Mozart needs no introduction, as one of the best composers in history, particularly in the area of opera. Perhaps one of the reasons 'La Clemenza di Tito' is not as well known is that it seems to fall outside Mozart's progression of operatic development -- however, as one scholar remarks, in fact this type of opera seria was popular in Italy at the time of Mozart's composition, and the deliberate simplicity of the work can be misleading. Conductor Harnoncourt dismisses the idea that Mozart reverted back to older forms of Baroque opera seria, instead crafting something new here in a simpler idiom, anticipatory of later nineteenth century developments (Harnoncourt cites Verdi here as an example).

The story is an aristocratic one (the title character, Tito, is actually the Roman Emperor Titus; the story turns on many loves and counter-loves between major characters, which includes a plot by Vitellia, daughter of the former emperor, to murder the new emperor Tito because of his rejection of her. In the end, many are implicated and Sesto is condemned to die; Vitellia agonises over whether or not to intervene, and Tito in the end pardons them all (the clemency of the title) -- of course, the real historical Titus was not the figure of clemency portrayed here.

The production qualities here are superb. The Zurich Choir and Orchestra, under the conduct of Nikolaus Harnoncourt and choirmaster Karl Kamper are wonderful; the lead voices include English tenor Philip Langridge (Tito), Lucia Popp (Vitellia), Ruth Ziesak (Servilia), Ann Murray (Sesto), Delores Ziegler (Annio), and Laszlo Polgar (Publio). This was Popp's last operatic recording. The parts of Sesto and Annio, both sung by female voices here, would have gone originally to castrati.

This is an opera that is making a comeback of sorts, and this is a superb recording by which to gain acquaintance. Written for an aristocratic audience and event, it was also accepted by the popular audience, as Mozart wrote in a letter home, 'the crowd applauds every number'. The final night of the performance of 'La Clemenza di Tito' was apparently the opening night of 'The Magic Flute', as fate would have it.

Wonderful rendition of La Clemenza.......2002-01-16

Excellent piece of recording. An under-rated opera that deserves to be among Mozart's top operas. The Swiss orchestra sounded crisped and very precised right from the first note to the last. This recording also is Lucia Popp's last before she departed from the world. At 60+, she still sings Vitellia so convincingly seductive. The rest of the cast are pretty good as well. And as usual, the Teldec sound is very balanced and natural. A must-have for anyone who wants to get La Clemenza!!!

Beautiful recording.......2000-06-19

I am so sorry that I discovered this work by Mozart until recently. I have been captivated by his operatic work, and just started listening to La Clemenza di Tito about a month ago. It's definately a masterpiece, and this recording shows it. If you'd like to have an introduction to this last of Mozart's operas, choose this recording, it has beautiful sound quality and voices. Grabawski and the chorus are amazing.

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Century Classics, Vol. 8: 1150-1450

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000DHJA
Release Date: 1998-11-10

Tracks:

Tant ai am'or me convient ha
Tant con je vivrai
Onques maiz nus hom ne chanta
Abundance de felonie
Estampie
Rassa, tan creis e monta e poia
Chanson do'ill mot son plan e prim
Tant m'abellis l'amoros pessamens
Do fraig amors
Es seusst dort her
Wes mich mein b

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Ver 1.5
B.E.D.
Manufacturer: Bmg
ProductGroup: Music
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ASIN: B0002RN9WW
Release Date: 2004-11-15

Album Description

Japanese pressing of 2004 release, scheduled to include one exclusive bonus track. Details TBA. BMG.

Album Details

Japanese Release featuring a Bonus Track

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Rossini: L'Italiana in Algeri

Manufacturer: Arts Music
ProductGroup: Music
Binding: Audio CD

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Monteverdi - Il Ballo delle Ingrate · La Sestina / Mellon · Laurens · Reinhart · Feldman · Visse · Laplénie · Cantor · Les Arts Florissants · Christie

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Monteverdi - Il Ballo delle Ingrate · La Sestina / Mellon · Laurens · Reinhart · Feldman · Visse · Laplénie · Cantor · Les Arts Florissants · Christie
Claudio Monteverdi , William Christie , Guillemette Laurens , Dominique Visse , Les Arts Florissants , Agnès Mellon , Gregory Reinhart , Jill Feldman , and Konrad Junghänel
Manufacturer: Harmonia Mundi
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