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Les Paladins, Jerome Correas - Mazzocchi: Madrigali & dialoghi (2006)

Posted By: tirexiss
Les Paladins, Jerome Correas - Mazzocchi: Madrigali & dialoghi (2006)

Les Paladins, Jerome Correas - Mazzocchi: Madrigali & dialoghi (2006)
EAC | FLAC (tracks+.cue, log) | Covers Included | 67:40 | 366 MB
Genre: Classical, Vocal | Label: Pan Classics | Catalog: 10188

The music on this disc comes from Rome in the middle seventeenth century, and it is seemingly, to use a word that recurs several times in the dense but informative booklet, paradoxical. Domenico Mazzocchi (1592-1665) was a composer who worked at the feet of popes. Yet the music here is stylistically of the sensuous seconda prattica, the operatic art of Monteverdi and his cohorts in the generation before. If the term "Counter Reformation" brings to mind music like Palestrina's, know that you get something very different here, something closer to the religious masterworks of Monteverdi's later career but on a more intimate scale.

V.A. - The Baroque Collection (25CDs, 2005)

Posted By: Discograf_man
V.A. - The Baroque Collection (25CDs, 2005)

V.A. - The Baroque Collection (25CDs, 2005)
Classical | MP3 CBR 320 kbps | 3.49 GB | Covers 89.6 Mb
Label: Brilliant Classics | Release Year: 2005

Energetic performances and thoroughly researched interpretations by ensembles like La Magnifica Commynita and The Netherlands Bach Ensemble. And some big names like the Academy of St. Martin-in-the-Fields and the King's College Choir, Cambridge. Of course there are Bach's Brandenburg Concertos, Handel's Water Music and Vivaldi's Four Seasons. But also music by Albinoni, Locatelli, Telemann, Purcell, Couperin and Corelli.

Handel, Bononcini - Muzio Scevola (Rudolph Palmer) [1992]

Posted By: Vilboa
Handel, Bononcini - Muzio Scevola (Rudolph Palmer) [1992]

Handel, Bononcini - Muzio Scevola (Rudolph Palmer) [1992]
Classical | Newport Classic NPD 85540 | TT: 58.08+57.48 | EAC (FLAC, cue, log) | Covers | 517 Mb

Muzio Scevola ("Mucius Scaevola", HWV 13) is an opera seria in three acts about Gaius Mucius Scaevola. The Italian-language libretto was by Paolo Antonio Rolli, adapted from a text by Silvio Stampiglia. The music for the first act was composed by Filippo Amadei, the second act by Giovanni Bononcini, and the third by George Frideric Handel. Collaborations of groups of composers were common in the 18th century, though this is the only one done in London. Bononcini had written the music for two earlier treatments of this story on his own, works dating from 1695 and 1710. The opera's initial run of performances began at the King's Theatre in London on 15 April 1721. A part of the second act and the third part composed by Händel is documented on the production of new port Classic being here.

Handel - Atalanta (Nicholas McGegan) [1995]

Posted By: Vilboa
Handel - Atalanta (Nicholas McGegan) [1995]

Handel - Atalanta (Nicholas McGegan) [1995]
Classical | Hungaroton 12612-14 | TT: 45.15+48.08+46.33 | EAC (FLAC, cue, log) | Covers | 595 Mb

Atalanta (HWV 35) is a pastoral opera in three acts by George Frideric Handel composed in 1736. It is based upon the mythological female athlete, Atalanta, the libretto (which is in Italian) being derived from the book La Caccia in Etolia by Belisario Valeriani. The identity of the librettist is not known. Handel composed it for the London celebrations of the marriage in 1736 of Frederick, Prince of Wales, eldest son of King George II, to Princess Augusta of Saxe-Gotha. The first performance took place on 12 May 1736 in the Covent Garden Theatre. It closed with a spectacular display of fireworks, which was highly popular with the royal family and the London audience, and the opera and fireworks display were revived a number of times in the year of its first performance.

Handel - Floridante (Alan Curtis) [2007]

Posted By: Vilboa
Handel - Floridante (Alan Curtis) [2007]

Handel - Floridante (Alan Curtis) [2007]
Classical | Archiv Produktion 289 477 6566 | TT: 58.28+50.21+54.53 | EAC (FLAC, cue, log) | Covers | 763 Mb

Handel wrote Floridante in 1722 for a London audience infatuated with Italian opera. The plot, like that of so many Baroque operas, was taken from ancient history and concerns romantic liaisons thrown into turmoil by political rivalries, in this case between Persia and Tyre. Handel wrote over 50 Italian operas, and it's remarkable that he was consistently able to summon such a high level of inventiveness and inspiration when faced repeatedly with librettos that must have come to look depressingly alike in the conventions of their labyrinthine plots. Handel, however, had strong enough musical and dramatic convictions that he refused to make alterations to the score of Floridante that would have changed the opera's character, after London's Royal Academy of Music informed him that changes in the performing personnel would require him to rewrite the vocal parts. Handel eventually made some adjustments, but stood firm about others – a bold position, considering the relatively low status of composers in the world of opera at the time. After the premiere with a less-than-ideal cast, Handel restored the score to his original intentions and it's that version that's heard on this recording.

Europa Galante, Fabio Biondi - G.F. Handel: Imeneo (2016)

Posted By: tirexiss
Europa Galante, Fabio Biondi - G.F. Handel: Imeneo (2016)

Europa Galante, Fabio Biondi - G.F. Handel: Imeneo (2016)
MP3 (CBR 320 kbps) | Covers + Digital Booklet | 01:54:47 | 286 MB
Genre: Classical | Label: Glossa

Handel's Imeneo, an opera almost contemporaneous with Messiah, has received few performances ever since Messiah librettist Charles Jennens slammed it as "the worst of all Handel's compositions" while still allowing that it contained some good tunes. The work exists in two versions; Handel attempted to rescue the opera that bombed in its London premiere by cutting arias and inserting new material, some of it borrowed from other works. It is this second version, premiered in Dublin, that is recorded here. Conductor Fabio Biondi extols it in his notes, but the earlier version also has its virtues, including a more coherent plotline involving the Greek maiden Rosmene, who has to pick either her true love Tirinto or her rescuer Imeneo (Hymen, the god of love on whose story the libretto is based).

Handel - Ezio (Alan Curtis) [2009]

Posted By: Vilboa
Handel - Ezio (Alan Curtis) [2009]

Handel - Ezio (Alan Curtis) [2009]
Classical | Archiv Produktion 289 477 8073 | TT: 67.56+61.08+57.45 | EAC (FLAC, cue, log) | Covers | 907 Mb

Alan Curtis continues his exemplary series of Handel operas for Archiv with Ezio, a 1732 work that has received few modern productions. Its initial limited success and failure to generate much interest until the late twentieth century may have to do with its length (over three hours), its preponderance of recitatives, and the composer's reluctance to use the voices together in ensembles, so that the entire opera, until the final chorus, consists of solo singing. Handel's gift for astute psychological insight and distinctive musical characterization is evident throughout the score, and the recitatives, which are necessary for explicating Metastasio's convoluted plot, are not a problem when they are performed with as much vivid dramatic realism as they are here.

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Posted By: Alex

Handel - Il Pastor Fido (Nicholas McGegan) [1994]

Posted By: Vilboa
Handel - Il Pastor Fido (Nicholas McGegan) [1994]

Handel - Il Pastor Fido (Nicholas McGegan) [1994]
Classical | Hungaroton 12912-13 | TT: 75.20+71.43 | EAC (FLAC, cue, log) | Covers | 684 Mb

L'opera fu composta nel 1712 e andò in scena per la prima volta il 22 novembre dello stesso anno, sotto la direzione del compositore stesso, al Her Majesty's Theatre di Londra. L'accoglienza fu generalmente negativa, probabilmente a causa delle elevate aspettative che il pubblico nutriva in seguito al successo dell'opera Rinaldo. Un commentatore riporta che "la scenografia rappresentava unicamente l'Arcadia, i costumi erano vecchi e l'opera breve". I ruoli di Mirtillo e Silvio furono interpretati dai castrati Valeriano Pellegrini e Valentino Urbani. L'ouverture è in sei movimenti appare eccessivamente ampia per quei tempi: è verosimile pensare che fosse stata scritta come una suite orchestrale distinta dall'opera.

Kiri Te Kanawa: Sorceress - A Handel Celebration [1994]

Posted By: Aregak
Kiri Te Kanawa: Sorceress - A Handel Celebration [1994]

Kiri Te Kanawa: Sorceress - A Handel Celebration (Christopher Hogwood; The Academy of Ancient Music) [1994]
EAC Rip | FLAC, TRACKS+CUE, LOG | Covers | 1cd, 298 MB
Classical | Label: Philips; Polygram Records | Catalog Number: 434 992-2 | TT: 77:55

Dame Kiri Janette Te Kanawa ONZ DBE AC (born 6 March 1944) is a New Zealand/Māori soprano who has had a highly successful international opera career since 1968. Acclaimed as one of the most beloved sopranos in both the United States and Britain she possesses a warm full lyric soprano voice, singing a wide array of works in multiple languages from the 17th to the 20th centuries. She is particularly associated with the works of Mozart, Strauss, Verdi, Handel and Puccini…

Lumieres - La musique du XVIIIeme siecle (29 CD): Part 07 [2011]

Posted By: Vilboa
Lumieres - La musique du XVIIIeme siecle (29 CD): Part 07 [2011]

Lumières - La musique du XVIIIème siècle (29 CD): Part 07 [2011]
Classical | Harmonia Mundi 2908601.30 | TT: 80.55+80.39+72.14 | EAC (FLAC, cue, log) | Covers | 1.09 Gb

The eighteenth century is probably the most extraordinary period of transformation Europe has known since antiquity. Political upheavals kept pace with the innumerable inventions and discoveries of the age; every sector of the arts and of intellectual and material life was turned upside down. Between the end of the reign of Louis XIV and the revolution of 1789, music in its turn underwent a radical mutation that struck at the very heart of a well-established musical language. In this domain too, we are all children of the Age of Enlightenment: our conception of music and the way we ‘consume’ it still follows in many respects the agenda set by the eighteenth century. And it is not entirely by chance that harmonia mundi has chosen to offer you in 2011 a survey of this musical revolution which, without claiming to be exhaustive, will enable you to grasp the principal outlines of musical creation between the twilight of the Baroque and the dawn of Romanticism.

Philharmonia Baroque Orchestra, Nicholas McGegan - Handel: Messiah (1992)

Posted By: tirexiss
Philharmonia Baroque Orchestra, Nicholas McGegan - Handel: Messiah (1992)

Philharmonia Baroque Orchestra, Nicholas McGegan - Handel: Messiah (1992)
EAC | FLAC (image+.cue, log) | Covers Included | 74:30 + 71:05 + 44:37 | 885 MB
Genre: Classical, Choral | Label: Harmonia Mundi | Catalog: 907050/52

McGegan's recording is of considerable documentary interest in that a separate section at the conclusion of each of the three parts of Messiah - there are three discs accordingly - is reserved for the many alternative versions of arias, accompanied recitatives and choruses which Handel himself used or at least approved in performances during the 1740s and 1750s. In this way, the booklet explains, the listener can select which version of the work he/she wants to listen to at any given time. About six versions are possible from the 18 alternative tracks provided on the three CDs. By following a table printed in the back of the booklet (a few minutes' mental gymnastics are initially required) you can programme your CD player to replace particular arias with others.

Vaughan Jones - Vilsmaÿr, Pisendel, Biber: Works for Solo Violin (2015)

Posted By: tirexiss
Vaughan Jones - Vilsmaÿr, Pisendel, Biber: Works for Solo Violin (2015)

Vaughan Jones - Vilsmaÿr, Pisendel, Biber: Works for Solo Violin (2015)
EAC | FLAC (image+.cue, log) | Covers + Digital Booklet | 01:58:09 | 651 MB
Genre: Classical | Label: First Hand Records | Catalog: FHR38

Violinist Vaughan Jones brings us a fascinating collection of 18th century solo works. Three hundred years after their first publication, Austrian composer Johann Joseph Vilsmayr's Six Partitas for Solo Violin are recorded here in their entirety for the first time. Johann Georg Pisendel was a famous Baroque violinist and composer. His fiendishly difficult Violin Sonata is an unpredictable, tempestuous and capricious work, showing great scope and ambition. To round out the recording, Jones plays the famous Passacaglia by Biber - a somber, moving work and a perfect end to this noteworthy set.

Handel - Giustino (Nicholas McGegan) [1994]

Posted By: Vilboa
Handel - Giustino (Nicholas McGegan) [1994]

Handel - Giustino (Nicholas McGegan) [1994]
Classical | Harmonia Mundi 907130.32 | TT: 74.22+38.35+60.20 | EAC (FLAC, cue, log) | Covers | 789 Mb

Giustino is the Baroque version of a ‘ripping yarn’. The eponymous hero rises from ploughboy to emperor via an action-packed curriculum vitae that has him seeing visions, routing traitors, fighting bears and even slaying a sea-monster! Written in the autumn of 1736, shortly after Handel had suffered a period of ill-health, Giustino is not among his greatest operas, but it is thoroughly entertaining and offers much fine music. Particularly felicitous are Giustino’s bucolic aria ‘Può ben nascere tra li boschi’ and Anastasio’s lovely ‘O fiero e rio sospetto’. The headlong pace leaves Handel little time to develop the more sensual, amorous side of his music. One exception – and the opera’s most entrancing interlude – is the ravishing love duet in Act II, superbly sung here by Dorothea Röschmann (Arianna) and Dawn Kotoski (Anastasio). Michael Chance too is outstanding in the title role, proving that even countertenors can exude machismo. Nicholas McGegan coaxes a stylish performance from the Freiburg Baroque Orchestra. Giustino is the fourth Handel opera he has now recorded following a staging at the Göttingen Festival and this is his most assured reading to date. Mention in the credits of a Bear Growl Advisor suggests a commendable attention to grizzly detail. (Graham Lock)

English Bach Festival Chorus, English Bach Festival Baroque Orchestra, Nicholas McGegan - Rameau: Nais (1995)

Posted By: tirexiss
English Bach Festival Chorus, English Bach Festival Baroque Orchestra, Nicholas McGegan - Rameau: Nais (1995)

English Bach Festival Chorus, English Bach Festival Baroque Orchestra, Nicholas McGegan - Rameau: Nais (1995)
EAC | FLAC (image+.cue, log) | Covers + Digital Booklet | 54:22 + 51:36 | 619 MB
Genre: Classical, Opera | Label: Erato | Catalog: 98532

It is only a short while since I reviewed a suite of dances from Rameau's opera, Nais. Now, hard on the heels of that disc (also conducted by McGegan, Harmonia Mundi, 7/95) comes a reissue of the entire work, albeit with judicious cuts. Nais was commissioned to celebrate the Treaty of Aix-la-Chapelle in 1748, and first performed the following year. Thus it was a vocal counterpart to Handel's Music for the Royal Fireworks, both pieces marking the conclusion of the War of the Austrian Succession. The present recording was made in 1980 following performances at London's Old Vic Theatre and at Versailles under the auspices of Lina Lalandi's enterprising English Bach Festival.

Handel - Agrippina (Nicholas McGegan) [1991]

Posted By: Vilboa
Handel - Agrippina (Nicholas McGegan) [1991]

Handel - Agrippina (Nicholas McGegan) [1991]
Classical | Harmonia Mundi 907063.65 | TT: 72.22+70.53+62.38 | EAC (FLAC, cue, log) | Covers | 839 Mb

Agrippina (HWV 6) is an opera seria in three acts by George Frideric Handel with a libretto by Cardinal Vincenzo Grimani. Composed for the 1709–10 Venice Carnevale season, the opera tells the story of Agrippina, the mother of Nero, as she plots the downfall of the Roman Emperor Claudius and the installation of her son as emperor. Grimani's libretto, considered one of the best that Handel set, is an "anti-heroic satirical comedy", full of topical political allusions. Some analysts believe that it reflects Grimani's political and diplomatic rivalry with Pope Clement XI.