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George Frideric Handel: Enemies In Love


  • Kod: EVOE005
  • Producent: Ëvoe Music
  • Kod producenta: 5905279916050
  • Wykonawca: Jakub Józef Orliński / Natalia Kawałek / Il Giardino d'Amore / Stefan Plewniak
  • Nośnik: CD
  • Instrument lidera: vocals
  • Kompozytor: George Frideric Handel (1685-1759)
  • Cena: 57,99 zł
  • Poleć produkt

Muzyka Barokowa
premiera polska:
2018-04-06
kontynent: Europa
opakowanie: digipackowe etui
opis:

Opis wydawcy:
Tytuł płyty znakomicie odzwierciedla to, z czym spotykamy się w operach Jerzego Fryderyka Handla. Skrajne emocje - od miłości po zazdrość i nienawiść - budują dramaturgią jego dzieł scenicznych, które pełne są ekstremalnych trudności technicznych dla wokalistów. Kastraci, którzy w czasach Handla królowali na operowych scenach, przede wszystkim mieli zachwycać swą wirtuozerią wręcz nieludzką. No i mamy płytę, która znakomicie oddaje te wszystkie elementy. Tym bardziej cieszy, że arie z Rinalda, Tamerlana, Rodelindy i innych, wykonują polscy muzycy. Zachwyca Jakub Józef Orliński, kontratenor, o którym już głośno w świecie, a który z pewnością zachwycać będzie jeszcze bardziej. Jego żywiołowe interpretacje, nieprawdopodobna technika i cudowna barwa głosu wręcz jest powalająca. Natalia Kawałek, mezzosopran, dostarcza słuchaczom równie pięknych muzycznych wrażeń. Obie barwy głosu tworzą znakomite wypełnienie tej muzycznie emocjonalnej przestrzeni. Wtóruje im zespół muzyki dawnej Il Giardino d’amore pod dyrekcją Stefana Plewniaka. Całość wprost wyborna. Obowiązkowo!

Miłość, zazdrość, wojna, skomplikowana sieć intryg, konflikt religijny w tle, a do tego cała plejada efektów specjalnych. Brzmi jak opis współczesnego filmu akcji? Owszem, choć z powodzeniem można by go zastosować do niejednej opery Händla! Spójrzmy choćby na Rinalda, pierwszą operę, którą kompozytor stworzył dla londyńskiej sceny. Historia zaczerpnięta z Jerozolimy wyzwolonej Torquata Tassa obfituje w wyraziste charaktery, a siły polityczne są tu wspierane przez magię. W czasie przedstawienia premierowego w 1711 roku scenom, w których pojawiała się czarodziejka Armida towarzyszyły efekty pirotechniczne, a cała inscenizacja odniosła spektakularny sukces.

Trudno dziś wyobrazić sobie świat, w którego pejzażu dźwiękowym brakowałoby muzyki Händla, a jednak wieko historii zatrzasnęło się nad jego operami na wiele dziesięcioleci jeszcze za życia kompozytora. Wirtuozowskie, najeżone trudnościami, wielowątkowe dzieła w stylu neapolitańskim szybko wyszły z mody, by z biegiem czasu ulec niemal całkowitemu zapomnieniu. Dopiero wiek XX uchylił drzwi do skarbca tej niezwykłej muzyki, rozbudzając apetyt melomanów wykonaniami najbardziej brawurowych arii. Nie ma w tym nic dziwnego – operowy zmysł Händla był niezrównany, o czym świadczy nie tylko niezwykła łatwość, z jaką przychodziło mu pisanie kolejnych utworów scenicznych, lecz także wyjątkowy talent do muzycznego portretowania ludzkich emocji.

To właśnie potężny ładunek emocjonalny wydaje się tym, co tak bardzo pociąga nas w muzyce Händla, czyniąc ją ponadczasową. Czym bowiem są najbardziej udane arie z jego oper, jeśli nie muzyczną esencją rozmaitych odcieni zauroczenia, nienawiści, rozpaczy czy radości? Choć bohaterowie przywołanych w nagraniu utworów pochodzą z odległych czasów i przestrzeni, ich uczucia, ożywione głosami wspaniałych śpiewaków, wciąż rezonują z wrażliwością współczesnych słuchaczy, pozwalając głębiej wejrzeć w pełną tajemnic dynamikę miłości.
autorka: Karolina Kolinek-Siechowicz


Editor's info:
Love, jealousy, war, complex web of intrigue, religious conflict in the background, and additionally a whole galaxy of special effects. Sounds like a description of a modern action movie? Yes, but it could successfully correspond to a large number of Händel operas! Let's look for example at Rinaldo, the first opera, created by the composer for the London scene. Story taken from Torquato Tasso's Jerusalem Delivered, rich in expressive characters, and political forces is here supported by magic. During premiere presentation in 1711, the scenes in which sorceress Armida appeared were accompanied by pyrotechnic effects, and the whole staging was a resounding success.
It is hardly surprising - even if we forget for a moment about the visual aspect, the music itself is enough to repaint the explosive nature of the heroine. For what are the rapid instrumental interventions played with vigor by strings, if not an image of full of anger monsters that are imperiously summoned by Armida (Furie terribili)? Insidious witch knows it well how to thwart the plans of noble Rinaldo, yet her cruelty loses with the sudden affection for the enemy.
In the duo of representatives of two camps (Fermati) rapid exchange of views takes place: short, broken phrases intertwine more and more closely, wrapping the protagonists with a surprising feeling, that from hatred smoothly transforms into fascination.
Strong personality of Armida is once again manifested in a great aria in the end of the second act of the opera – Vo' far guerra, when the Queen of Damascus becomes the victim of own machinations - having led the lover astray, discovers that he begins to develop a romantic attraction towards the rival.
The desire for revenge is revealed in the spontaneous explosion of jealousy, that is perfectly highlighted by Händel with a brilliant harpsichord accompaniment, by weaving into subsequent parts of the aria a spectacular cadenza of the instrument.
Faces of love portrayed by Händel can be very different, and among the many feelings that accompany it, there is also the joy sung with enthusiasm by the loving and loved Ginevra (Volate amori). Even happy love is however sometimes tested, especially when around the lovers a circle of intrigue is tightened, and when there is an allegation of sexual irregularity - this is the situation of Romilda and Arsamene, who, despite mutual commitment, are caught in a treacherous situation, discrediting their mutual trust. Their argument (Troppo oltraggi) resembles a typical marital quarrel, in which suspicion turns up the temperature of emotions. Parts of both lovers are mirrored to each other, giving the impression as if the singers mimicked each other - his slightly ironic effect is emphasized also in part of the band, the lively accompaniment of which introduces here a little humorous distance.
A completely different atmosphere is brought by a heartbreaking aria of Tolomeo (Stille amare) that being convinced that will swallow in a moment a bowl of poison, bids farewell to life and love. It is one of the most beautiful arias intended by the composer for male alto voice
(in this case, the first performer was a famous castrato Senesino). The background of a rolling, metering the inevitably passing time, accompaniment, is dominated by lyrical melody of the part of Tolomeo.
Also Bertarido, tragic hero of Rodelinda (1725), singing a few songs later the legendary Dove sei must face the topic of death and loss. Melancholy of the king, that has been found to be dead, is mixed with longing for his beloved, and the sense of emptiness is perfectly captured by a wide, wistful phrase. The aura of sadness fills also the duo of Bertarido and Rodelinda Io t'abbraccio, ending the second act of the same opera. Parting of this famous couple is surely one of the most sensual moments in the stage music of the Baroque – singing in the same register lovers cling to each other with voices so closely that sometimes their parties become almost indistinguishable.
With a moving tenderness bid farewell also Clizia and Arcane (Addio) with a powerful five-act Teseo, opera in which Händel broke his three-act scheme, reaching for the french patterns, however at the same time returned to the present in Rinaldo world of magic.
Spells are also present in Orlando, based on the text of epic poem of Ludovico Ariosto Orlando Furioso. In this full of contrasts work certainly worth noting is the aria of the shepherdess Dorinda (Amor e qual vento), that with grace and fantasy compares the dynamics of falling in love to changing wind directions: joyful daze can quickly turn into an obsessive fear and pleasure may be undermined by jealousy.
And about jealousy Tamerlando has plenty to say, who tormented by this feeling sings bristling with fury aria, which literally sparkles with the desire for revenge (in the original cast another castrato excelled here - Andrea Pacini).
It is however the most difficult in love to face rejection. This was the fate of lover of the title queen Partenope - Arsace, who ends second act of the opera with his brilliant aria called Furibondo spira il vento. This daring show of vocal technique, filled with coloraturas and sudden interval surges, recalls the mood of the opening the CD temperamental arias of Armida, that constitute room to maneuver both for the singer, and the vigorously accompanying him band.


Today, it is difficult to imagine a world, the musical landscape of which would miss the music by Händel, however the history has been closed for his operas for many decades, already during the composer's lifetime. Virtuosic, bristling with difficulties, multithreaded works in the Neapolitan style quickly went out of fashion, and over time they have almost completely been forgotten.
Only the twentieth century cracked open the doors to this extraordinary music, whetted the appetites of music lovers with performances of the most daring arias.
There is nothing surprising in this - Händel’s sense of opera was incomparable, as evidenced by not only the ease of writing subsequent stage works, but also an exceptional talent for portraying human emotions with music.
What we find so attractive in the music of Händel is the powerful emotional charge, making it timeless. What are actually the most successful arias from his operas, if not the musical essence of various shades of infatuation, hatred, despair or joy? Even though characters of the tacks mentioned in the recording come from distant times and spaces, their feelings, lively voices of great singers, still resonate with sensibility of contemporary listeners, allowing a deeper insight into the full of mysteries dynamics of love.

muzycy:
Jakub Józef Orliński: contratenore
Natalia Kawałek: mezzosoprano
Il Giardino d'Amore
Stefan Plewniak: conductor

utwory:
1. George Frideric Handel: A dispetto d'un volto ingrato aria 05:07
2. George Frideric Handel: Amor e qual vento aria 04:39
3. George Frideric Handel: Troppo oltraggi la mia fede duetto 02:32
4. George Frideric Handel: Furibondo spira il vento aria 04:12
5. George Frideric Handel: Stille amare recitativo 06:32
6. George Frideric Handel: Volate Amori aria 03:36
7. George Frideric Handel: Io t'abbraccio duetto 06:30
8. George Frideric Handel: Furie terribili arioso 01:47
9. George Frideric Handel: Fermati! duetto 01:58
10. George Frideric Handel: Dove sei,amato bene? aria 05:05
11. George Frideric Handel: Vo far guerra aria 10:43
12. George Frideric Handel: Addio! mio caro bene duetto 03:28

wydano: 2018-02-09
nagrano: Recorded 24-26.08.2016, Corpus Christi Basilica in Cracow, Poland

more info: www.challenge.nl
more info2: www.evoerecords.com

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