III Veni Vidi Vici [Import]

iii veni vidi vici [import]

Track Listings

1. Adagio

2. Veni Vedi Vici

3. Gradus Ad Parnassum

4. Tower Of Thoughts

5. River Of Tales

6. Juxtapoint

7. Le Grand Chanbardment

8. Adagio Con Flauto Et Clavicembalo

9. Hymn

10. The Premonition

11. Independant (Japanese Bonus Track)

Editorial Reviews
Product Description
Japanese Version featuring a Bonus Track

III Veni Vidi Vici,Par (Project) Lindh,Avalon,Rock

III Veni Vidi Vici [Import]

Handel Operatic Duets ~ Amor e gelosia / Ciofi · Di Donato · Il Complesso Barocco · Curtis

Average customer rating:

Stellar Singing
From still waters to fireworks in baroque singing - Duets sung exquisitely
Supreme Handel Duets Lack Dramatic Context But Still Lovely
A feast
A sumptuous feast of Handel

Handel Operatic Duets ~ Amor e gelosia / Ciofi · Di Donato · Il Complesso Barocco · Curtis
George Frideric Handel , Patricia Ciofi , Joyce Di Donato , Alan Curtis , and Il Complesso Barocco
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
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ASIN: B0001CTKD0
Release Date: 2004-06-01

Tracks:

Caro Amico Amplesso!
Scherzano Sul Tuo Volto
Non Ti Basto, Consorte/Io T'abbraccio
Mio Diletto, Che Pensi?/Sol Per Te, Bell'idol Mio
Per Le Porte Del Tormento
Del Destin Non MI Lagno/Caro, Tu M'accendi
Amarilli?/Amarilli? Oh Dei! Che Vuoi?
Vivo Senz'alma, O Bella
Finche Prendi
Perfidi! Ite Di Poro/Se Mai Piu Saro Geloso
Macedoni Guerrieri/Se Mai Turbo Il Tuo Riposo
Sinfonia To Act 3
Gran Pena E Gelosia!
Lode Agli Dei/Se Mai Turbo Il Tuo Riposo
Alma Mia, Dolce Ristoro
Ricordati, Mio Ben
Addio, Mio Caro Bene

Amazon.com

In baroque opera, the spotlight was usually reserved for the bravura arias, designed to show off the singers' brilliant coloratura and skill in improvising ornamentation. The ensembles, on the other hand, were left to languish in the shadows. This record aims to right that wrong in a program of 17 duets drawn from 13 mostly unfamiliar Handel operas. In an attempt to create some cohesion, these primarily short selections are arranged under the heading "Love and Jealousy," with love predominating and usually prevailing. If the title sounds a bit gimmicky, never mind: the music's the thing and it is wonderful. Expressed with Handel's inimitable dramatic intensity and deeply felt inwardness, it encompasses every amorous emotion from tenderness, ardent protestation and rapturous joy to fear of loss, anguish and mournful farewell, using an infinite variety of form, texture and character. Some duets begin with a recitative; the voices separate and unite, conversing, interweaving, joining in imitation or harmony. The orchestra, a period-instrument group of soloists, provides introductions, interludes and postludes which set mood and atmosphere and contribute greatly to contrast and diversity. The performances are splendid. The two singers prove that the duet is as fertile a vehicle for virtuosic display as any aria, and they find plenty of opportunities for ornamentation in the da capos. Their voices can blend and merge as well as remain distinctly individual in timbre and color, and they succeed in creating, or at least suggesting, situations and personalities even in the shortest selections. The playing is impeccable: rhythmically crisp and pungent, texturally transparent, and very expressive. The only cavil is that the selections often follow each other without a pause, making it difficult to be sure where one ends and the next begins. --Edith Eisler

Customer Reviews:

Stellar Singing.......2007-01-04

I must admit that, before becoming a dedicated Joyce DiDonato fan, I probably wouldn't have purchased a CD of Handel duets, or any Baroque duets for that matter. Like other reviewers have observed, the duets are performed out of dramatic context. I also prefer the full opera, particularly when it comes to Handel.

In the case of this CD, who cares? This is literally some of the loveliest Baroque ensemble singing I have ever heard. The pairing of Joyce DiDonato with Patrizia Ciofi was a stroke of brilliance. Their voices match perfectly. Their intonation is spot on, all the time. Their ornamentations, particularly the da capo ornamentations, are intelligently selected and brilliantly executed. The balance is just right between the singers and the chamber musicians.

I have a big thanks to give to Virgin Veritas and these two wonderful artists for this CD. It will get lots of play in my home.

Highly recommended.

From still waters to fireworks in baroque singing - Duets sung exquisitely.......2005-11-28

Handel was a master of his medium - his music paints with elegance and soul-stirring emotion upon the canvas of the human heart. His duets often exhibit particular indebtedness to Steffani (truly a genius of duet writing), and they are gorgeous duets indeed!

I note that some other reviewers quibble with a) duets only on this recording; and b) a sense of disjointedness.

Addressing both of those issues, let's admit that any recital disc is going to give some disjointedness in the absolute and literal sense. To take a portion of an opera out of its setting and perform it separately is a sort of amputation, be it an album of arias OR an album of duets. Should singers then avoid putting out solo recordings of Handel arias? I find no reason to come to THAT conclusion - and for the same reason, I have no quarrel at all with the recording of an album of Handel duets.

Of course, to enjoy Handel to the fullest degree, do get full recordings as well... but even in Handel's time, singers would pull specific bits of their roles out of context, perform them separately... so it's a time-honoured practice! Let us simply enjoy the high standard of the music without worrying about context in any recording of arias, duets, trios, or operatic scenes.

Handel's duets vary so much in their shape, melodies, harmonies, rhythms - there's plenty of variety. It comes down to a question of the singers involved having suitable voices, singing appropriately for the style, the playing of the orchestra, and the particular variety of duets chosen.

On all points, this album scores highly! Both Ms Ciofi and Ms Di Donato have beautiful voices, clearly trained in baroque singing, and they have equally clearly put in a lot of work to achieve a lovely blend and similar approach within these duets. What a joy to hear gifted singers perform these duets with such intelligence, emotional involvement and lovely, lovely tone!

This recording is a favourite of mine - not just because I perform many of the duets on this CD with another soprano, but because I am genuinely delighted to hear appropriately performed Handel singing in a duet album. I've found fault with some other duet albums because I consider them under-rehearsed, insufficiently blended, and inappropriately embellished - but this album shows none of those faults, and I am very happy to recommend it highly and without reservation. Beautiful singing, beautiful works - you can scarcely wish for more!

Supreme Handel Duets Lack Dramatic Context But Still Lovely.......2005-01-08

I was fortunate to see and hear Renée Fleming and the astounding David Daniels sing "Io t'abbraccio" together in the magnificent Stephen Wadsworth production of Handel's "Rodelinda" at the Metropolitan Opera last week. There is nothing here that can match the ethereal quality and overwhelming melancholy of that duet performance, but sometimes this recording comes pretty close under the masterful baton of Alan Curtis. Soprano Patrizia Ciofi and mezzo-soprano Joyce Di Donato blend quite well together with Ciofi's often fiery coloratura floating easily over the verses and Di Donato's contrasting darker, fuller tone.

It's a nice idea to make a disc of just Handel duets but also a bit risky since they usually represent the major dramatic highpoints of his operas, mostly coming at the end of an act or of the entire opera. Given that fact, one would think there would be plenty of exhausting dramatic fireworks by providing one duet after another. In fact, the higher profile duets, such as the aforementioned "Io t'abbraccio" and the equally famous "Scherzano sul tup volto" from "Rinaldo", feel a bit lackluster probably because their gorgeous music crowns the end of scenes full of tension and drama. The joy in hearing two characters sing together, especially after hearing each of them express their individual sentiments, acts as a catharsis. But here the duets become lovely moments partially robbed of their dramatic impact because the organic synthesis of character and music is lost. Certainly it's not easy to deliver a recital containing only music that Handel devised for key dramatic moments. Yet, it more often does work here perhaps because there are a treasure trove of little-known gems such as "Caro, tu m'accendi" from "Faramondo", "Se mai turbo il tuo riposo" from "Poro" and "Alma mia, dolce ristoro" from "Admeto". The performances really become more like chamber music pieces, almost understated and always tasteful. Toward that end, the singing is expressive and stylish as Ciofi and Di Donato play lovers who quarrel and console in these duets. Together they bring this recording to a consistently high level regardless of the dramatic shortcomings, and their emotional availability makes their unified voices all the more resonant as they get lost in each other.

A feast .......2004-09-28

The programme maybe disjointed, but it doesn't matter, because the singing is some of the most glorious I have EVER heard. A shining feast of articulation, phrasings and harmonies, heavenly executed by Ms Ciofi and Ms Di Donato.

Just buy it for an unparalleled vocal chord experience; marvel at the singing. Any other considerations are entirely oblivious.

A sumptuous feast of Handel.......2004-08-04

Alan Curtis has here chosen to bring to life some of the more memorable duets of Handel's many operas. Quite apart from chewing over some of the more well-known operas he has chosen some duets from Silla, Sosarme (Per le porte del tormento), Faramondo, Atalanta, Poro and Muzio Scevola, few of which have had decent recordings in the last number of years.

His band is small, one player per part, withe the resultant effect rather to make the duets seems like chamber music. There is a danger in that with duets such as Io t'abbraccio (end of Act 2 Rodelinda) taken out of context that the dramatic moment of the music would be lost. However, by arranging the duets in a sequence (as Curtis writes in the notes) from love's joy through self-doubt and jealousy, back to undying love, the duets out of context sound superb.

Both singers, Patrizia Ciofi (Soprano) and Joyce di Donato (Mezzo) sound thoroughly at home in the idiom of baroque opera, and in fact their cadenzas and ornamentation are delightfully understated, rather than the sort of shrieking 'I can go higher still' of some more lauded performers. I look forward to Curtis' forthcoming recordings of Lotario, Rodelinda and Radamisto, if these performers are to be retained.

In short this is a delightful enterprise showing the genious of Handel in dealing with the most basic of human emotions - love and jealousy. Well done Alan Curtis!

Average customer rating:

The Essential Coloratura Album

The Viennese Nightingale

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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The Essential Coloratura Album.......2007-02-16

The artistry of Rita Streich presented in this multi-disc set represents an art that in all likelihood would not return: the Viennese school of coloratura and lyrical singing.
Together with Elisabeth Schwarzkopf, Rita Streich studied voice with Maria Ivogun, a great coloratura soprano of the German-Austro school. Together with her colleague, Streich excelled in the Viennese-style coloratura singing. This album presents her wide range of repertoire from Austro-German to French to Italian opera; from classical opera to romantic Strauss operetta; from lieder to folk songs.
What this album does NOT include is Streich's Russian repertoire, some thing that, owing to her maternal descent, she was most adept at.
Unlike Schwarzkopf, Streich owned a voice that is out-right lyrical. It is even lighter, even more agile, even more silvery, though not as forceful as Schwarzkopf's on demand. Listen to her delightful "Bastien und Bastienne", her Mozart concert arias and enjoy her highly articulated, musically refined delivery. It is the exemplary Viennese singing. Her soubrettes as well as lyrical heroines are nothing short of being superb.
Not being as internationalised a singer as Schwarzkopf, Streich nonetheless was a representative figure of Viennese coloratura singing. Some times I would even feel that her coloratura is even more superior to that of the great dramatic coloratura of the 20th century, Joan Sutherland, again a very much more internationalised singer than Streich.
If you are undergoing voice training, this box set is essential.

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