July 21, 2020 0 By admin

One of the most colourful works from Handel’s time in Rome, La Resurrezione, rises again thanks to Emmanuelle Haim, Le Concert d’Astre and five exceptional . George Frederick Handel. La Resurrezione, oratorio, HWV Composition Information ↓; Description ↓; Parts/Movements ↓; Appears On ↓. Share on.

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It calls upon a large orchestra, led and directed at the first performance by the master violinist Arcangelo Corelli. The role of Mary Magdalene, here performed by the lush-voiced young British soprano and EMI Classics artist Kate Royal, was sung at the first performance by the celebrated Margherita Durastanti, even though the Pope had forbidden female singers to perform in public.

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La Resurrezione, oratorio, HWV 47 | Details | AllMusic

Terms and conditions apply. See offer for details. Sample this album Artist Sample. D’amor Fu Consiglio Angelo. O Voi Dell’Erebo Lucifero. Notte, Notte Funesta Maddalena.

Händel, Georg Friedrich / La Resurrezione HWV 47 / Bärenreiter Verlag

Concedi, O Maddalena Cleofe, Maddalena. Naufragando Va Per L’onde Cleofe.

Se Maria Dunque Spera Maddalena. Uscite Pur, Uscite Angelo. Il Nume Vincitor Angelo, Coro. Di Quai Nuovi Portenti S. Ma Ove Maria Dimora S. Risorga Il Mondo Angelo. Di Rabbia Indarno Freme Angelo.

Vedo Il Ciel Cleofe. Del Ciglio Dolente Maddalena. Caro Figlio, Amato Dio S. Cleofe, Giovanni, Udite Maddalena, S. Se Impassibile, Immortale Maddalena.

Additional taxes may apply. By placing your order, you agree to our Terms of Use. Share your thoughts with other customers. Write a customer review. Showing of 5 reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. David Vickers has written the liner-notes and one also gets lyrics in Italian, French, German and English. The booklet also contains fine photographs of the performers from the time of the recording. Emmanuelle Haim shines in this recording of one of the most colorful works from Handel.


She has a great understanding of the relationship between sense and sensuality in Handel – I think she’s one of his finest interpreters.

Her voice has so much immediacy and expression. Haim is wonderfully supported by the ensemble of singers. People rarely give ensembles props for what they do, but in this recording, the ensemble was technically and stylistically at the peak of today’s Handel interpretation. I also think it was from the help of Haim that ignited them to perform with such power and emotion without running wild.

I’m a little surprised and puzzled by the unqualified praise this disc has received from all quarters. I count myself as a huge Handel fan and was thrilled by this release, since La Resurrezione is a piece that deserves to be better known. I am in general a supporter of the fresh pespective the historically informed performance resurrezionr has brought to this repertoire. But this performance is one big hot mess.

There’s no question that there’s a great deal of frenzied passion and emoting going on, and those resurreziome favor histrionics at the expense of pitch and rhythm may welcome this interpretation. Without question, there is a great deal of drama in this music, but for my money, a bit more poised vocalism would have been a lot more expressive. To my ear, the performers approach this piece as if it were verismo opera. The fact that this is a live performance does not excuse the sloppiness of execution at play here.

About one in every three notes is in tune. When a clear beat is given not always the casethe singers are hadel it. Not one of them has an evenly produced vocal technique.

They sound like talented conservatory students, and not finished singers. I do hate to be sharky, but the standard should be higher for performers at this stage of their profession. The instrumental musicians all perform admirably, but Haim drives her forces as if to suggest that sheer muscle excuses everything.

Maybe, just maybe, this approach worked in the accoustic of the live performance, but it does not translate successfully as a pure listening experience.

This is a great piece of music. Any of the other recordings are better. Maybe, one would fail to find some inspired interpretation or excellent first rate voices here, but it is a clear, soft, appealing and stylish rendition. Every note is distinguished and carefully delivered. I enjoyed to listen rdsurrezione it. One person found this helpful.


Resurrezlone Harp Top Contributor: A bit of background for the work resurreezione help those to whom this work is here discovered: It was first performed on the Easter Sunday resurreaione at Rome, with the backing of the Marchese Francesco Ruspoli, Resugrezione patron at this time. The work details the events between – and during – Good Friday and Easter Sunday, with the action carried forward in recitative, and exploration of character and delineation of resurrezikne taking place in the arias.

The characters of the liturgical drama that appear in the oratorio are Lucifer bassMary Magdalene sopranoan Angel sopranoSt Resurreziione the Evangelist tenorand St Mary Cleophas alto. Mary Cleophas by Sonia Prina contraltoand St. John the Evangelist by Toby Spence tenor. The oratorio follows the same style as Handel’s well-known Messiah, rewurrezione this work is much more dramatic and each of the vocalists creates a character instead of simply singing the at times reckless lines with great beauty of tone and pitch control.

This is a 2 Resurreezione set and given the fact that it is so seldom performed is a must for those who desire to understand the Baroque tradition.

Of note, and a bit of comical history, ‘the role of Mary Magdalene was sung at the first performance by the soprano Margherita Durastanti.

The participation of female singers was prohibited by Papal edict, and the Pope went to the length of admonishing Ruspoli for permitting Durastanti to take part. For the remaining performances, her role was sung by a castrato. Grady Harp, January See all 5 reviews.

La Resurrezione, oratorio, HWV 47

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