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Händel Arminio George Frideric Handel Arminio

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Händel Arminio George Frideric Handel Arminio Händel Arminio George Frideric Handel Arminio Opera in three Acts, HWV 36 Libretto after Antonio Salvi First performance at Covent Garden Theatre, London 12 January 1737 Arminio Christopher Lowrey countertenor Tusnelda Anna Devin soprano Live recording: 12 May 2018, Deutsches Theater Göttingen (Germany) Sigismondo Sophie Junker soprano Stage director: Eric Sidler · Set design: Dirk Becker · Costumes: Renée Listerdal · Lighting: Michael Lebensieg Ramise Helena Rasker contralto Executive producer: Tobias Wolff (Internationale Händel-Festspiele Göttingen), Michael Sawall (note 1 music), NDR Kultur Recording producer: Rita Hermayer (NDR) · Recording engineer: Daniel Kemper (NDR) Varo Paul Hopwood tenor Performance material: Hallische Händel-Ausgabe, Bärenreiter-Verlag Kassel · Basel · London · New York · Praha Tullio Owen Willetts countertenor Booklet editor & layout: Joachim Berenbold Cover and stage photos: Alciro Theodora da Silva Segeste Cody Quattlebaum bass-baritone Artist photos: Robert Workman (Laurence Cummings), Frank Stefan Kimmel (FestspielOrchester Göttingen), Rebecca Fay (Christopher Lowrey), Christina Raffaele (Sophie Junker), Merlijn Doomernik (Helena Rasker), Jonas Cradock (Paul Hopwood), Dustin Chan (Cody Quattlebaum), and archived material from the artist’s agents Lizenziert durch Studio Hamburg Enterprises GmbH FestspielOrchester Göttingen 2018 NDR Kultur © 2018 note 1 music gmbh CD manufactured by Profact Int. – Made in The Netherlands Laurence Cummings conductor & harpsichord CD 1 [56:09] CD 2 [56:55] ACT I ACT II 1 OVERTURE 4:06 1 SINFONIA 2:07 2 RECITATIVO Tusnelda, Arminio Fuggi, mio bene 1:00 2 RECITATIVO Tullio, Segeste Come, signor, vorrai? 0:47 3 DUETTO Tusnelda, Arminio Il fuggir, cara mia vita 3:10 3 ARIA Tullio Con quel sangue dipinta vedrai 4:48 4 RECITATIVO Tullio, Varo Signor, è in tuo potere 0:53 4 RECITATIVO Varo, Segeste Quest’è, oh signor, di Cesare è il volere 0:56 5 ARIA Tullio Non deve roman petto 3:52 5 ARIA Arminio Duri lacci, voi non siete 3:57 6 RECITATIVO Varo Ah! che un vero valore 0:12 6 RECITATIVO Segeste, Arminio Arminio, in questi accenti per la mia lingua 1:11 7 ARIA Varo Al lume di due rai 3:28 7 ARIA Arminio Sì, cadrò, ma sorgerà 4:14 8 RECITATIVO Segeste, Varo, Arminio, Tusnelda Colla spada d’Arminio, signore, io ti presento 1:06 8 RECITATIVO Segeste, Tusnelda Figlia, son vani i pianti 0:52 9 ARIA Tusnelda Scagliano amore e sangue 2:42 9 ARIA Tusnelda Al furor che ti consiglia 4:56 10 RECITATIVO Segeste, Armionio, Varo Arminio, al tuo furore 0:42 10 RECITATIVO Ramise, Segeste, Sigismondo Prencipe senza fede! 1:27 11 ARIA Arminio Al par della mia sorte 4:40 11 ARIA Ramise Niente spero, tutto credo 5:03 12 RECITATIVO Segeste Se Arminio oggi non piega 0:28 12 RECITATIVO Sigismondo O Ramise, o Segeste, ambo fatali! 0:27 13 ARIA Segeste Fiaccherò quel fiero orgoglio 3:54 13 ARIA Sigismondo Quella fiamma, ch’il petto m’accende 7:35 14 ARIA Sigismondo Non sono sempre vane larve 6:21 14 RECITATIVO Arminio, Tusnelda, Varo Olà! Custodi, alcun di voi mi chiami Varo 1:42 15 RECITATIVO Tusnelda, Ramise, Sigismondo Ramise, oh Dei! 1:04 15 ARIA Arminio Vado a morir, vi lascio la pace 7:11 16 ARIA Ramise Sento il cor per ogni lato 3:48 16 RECITATIVO Varo, Tusnelda Tusnelda, io son confuso! 1:19 17 RECITATIVO Sigismondo, Tusnelda Ohimè! Parte Ramise 0:47 17 ARIA Tusnelda Rendimi il dolce sposo 8:13 18 ARIA Tusnelda E’vil segno d’un debole amore 6:29 19 RECITATIVO Sigismondo, Segeste Cruda sorella! 1:20 20 ARIA Sigismondo Posso morir, ma vivere 5:54 4 5 CD 3 [51:27] ACT III 1 SINFONIA & RECITATIVO Arminio Fier teatro di morte! 1:08 2 RECITATIVO Arminio, Varo, Segeste, Tullio Ministri, alla mia morte 0:56 3 ARIA Arminio Ritorno alle ritorte 2:55 4 RECITATIVO Varo, Segeste Del castello in difesa 0:23 5 ARIA Varo Mira il ciel, vedrai d’Alcide 6:28 6 ARIOSO Tusnelda Ho veleno, e ferro avanti 0:48 7 RECITATIVO Tusnelda, Ramise Ti stringo, o illustre acciaro 0:42 8 DUETTO Tusnelda, Ramise Quando più minaccia il cielo 1:47 9 RECITATIVO Sigismondo, Ramise, Tusnelda Arminio sventurato! 1:11 10 ARIA Sigismondo Il sangue al cor favella 1:43 11 ARIA Tusnelda Tra speme e timore 2:15 12 RECITATIVO Arminio, Tusnelda, Ramise, Sigismondo Mia sposa, mia sorella 1:05 13 ARIA Arminio Fatto scorta al sentier della gloria 6:10 14 RECITATIVO Tusnelda Va, che nel dubbio calle anco il mio amore 0:17 15 ARIA Tusnelda Va, combatti ancor da forte 4:37 16 RECITATIVO Ramise, Sigismondo, Segeste Sigismondo, qui resti vittima di Segeste 1:21 17 ARIA Sigismondo Impara a non temer 4:05 18 RECITATIVO Ramise Perché mi dividete 0:11 19 ARIA Ramise Voglio seguir lo sposo 3:21 20 RECITATIVO Tullio, Segeste, Sigismondo, Arminio, Tusnelda, Ramise Fuggiam, signor! 1:27 21 DUETTO Arminio, Tusnelda Ritorna nel core vezzosa. brillante 5:11 22 RECITATIVO Arminio Goda nostr’alma appieno 0:12 23 CORO Tutti A capir tante dolcezze 3:00 Stirn zu bieten. (Eine wichtige Entwicklung in diesem war. Ein echtes Problem für Händel war die Tatsache, „... eine der besten Opern von Händel ...“ Zusammenhang war, dass Senesino London im Sommer dass Annibali zum Beginn der Spielzeit noch nicht in 1736 verlassen hatte und nie dorthin zurückkehren soll- London angekommen war. Sein erster Auftritt fand am te.) Händel stellte ein attraktives Sängerensemble zu- 8. Dezember in der Oper Poro statt. Der Verlauf von Händels Karriere in London um die Mitte In ihrer zweiten Spielzeit konnte die Adelsoper zudem sammen, darunter Domenico Annibali aus Dresden, der Die Partitur zu Arminio entstand zwar erst nach Giusti- der 1730er-Jahre war geprägt von der Konkurrenz zu ei- auch Farinelli als zweiten Kastraten gewinnen sowie die als Unterstützung für Conti an Händels Haus kam. In der no, das Stück wurde jedoch zuerst aufgeführt. Die Ur- nem rivalisierenden Opernhaus, der heute so genannten bekannte Sopranistin Cuzzoni, die nun wieder nach Lon- Zeit vom 14. August bis zum 14. Oktober 1736 kompo- aufführung fand am 12. Januar 1737 statt. Die Haupt- Adelsoper. Es gab zwei praktische Faktoren im Kampf um don zurückkehrte. Händel reagierte, indem er den exzel- nierte Händel außerdem zwei neue Opern, Giustino und rollen wurden von Annibali (Arminio), Strada (Tusnelda) die Aufmerksamkeit und die Unterstützung der Opern- lenten Kastraten Carestini engagierte, der jedoch nur für Arminio. Mit Arminio begann er am 15. September, und und Conti (Sigismondo) dargestellt. Die übrigen Rollen gäste: Spielstätten und Sänger. Ursprünglich war Händel zwei Spielzeiten blieb. Im Sommer 1735 zeichnete sich nur eine Woche später war der Entwurf für den ersten wurden mit Sängern besetzt, mit denen Händel bereits mit seiner Operngesellschaft im King’s Theatre am Hay- klar ab, dass Händel in seinem Sängerensemble nicht die Akt vollendet; Akt zwei und drei folgten am 26. Septem- in den Jahren zuvor zusammengearbeitet hatte: Henry market ansässig, dem allgemein anerkannten Opernhaus Stimmen hatte, die für die Eröffnung der Saison zur üb- ber und am 3. Oktober. Bis zum 14. Oktober waren die Reinhold (Segeste), John Beard (Varo), Francesca Bertolli in London. Die Adelsoper nahm ihre Inszenierungen lichen Zeit im Herbst erforderlich gewesen wären. Erst letzten Details fertiggestellt. Am 27. November schrieb (Ramise) und Maria Caterina Negri (Tullio). In der Zwi- im Jahre 1733 in einem eher bescheidenen Theater in im Februar 1736 konnten seine Aufführungen in Covent Mrs Pendarves aus ihrem Londoner Haus: „Händel hat schenzeit hatte Händel zwei Akte einer weiteren neuen Lincoln’s Inn Fields auf. Nach nur einer Spielzeit lief Garden beginnen, mit der englischen Ode Das Alexan- zwei neue Opern vorbereitet – Arminio und Giustino. Vor Oper komponiert (Berenice), in der Zeit vom 18. Dezem- jedoch Händels Mietvertrag für das King’s Theatre aus, derfest. Der Erfolg war groß und zog weitere Konzert- zwei oder drei Tagen hat er mich besucht und mir beide ber bis zum 7. Januar; den dritten Akt schrieb er wäh- und die konkurrierende Operngesellschaft zog an sei- aufführungen nach sich, zum BeispielAcis and Galatea Ouvertüren vorgespielt; sie sind einfach zauberhaft.“ rend der Aufführungen vonArminio und beendete diesen ner Stelle in die Räumlichkeiten. Händel richtete seine und Esther. Der soziale und berufliche Druck zwang ihn am 27. Januar. Danach bearbeitete er eine Pasticcio- Oper nun in John Richs neuem Theater in Covent Garden jedoch, eine Oper zu Ehren der Vermählung des Prince Normalerweise wurde die Londoner Opernsaison immer Fassung von Vincis Didone abbandonata. Schlussend- ein. Hierbei handelte es sich jedoch nicht um ein reines of Wales zu komponieren, die im April stattfinden sollte. um den Geburtstag seiner Majestät am 30. Oktober er- lich wurde dies eine der anspruchsvollsten Spielzeiten Opernhaus, daher mussten sich Händels Aufführungen Der junge Kastrat Gioacchino Conti war verfügbar und öffnet. Da Georg II. zu jener Zeit aber gerade in Han- Händels im Hinblick auf neue Werke und Vielseitigkeit, mit denen der regulären Schauspieltruppe abwechseln. konnte zu jener Zeit nach London kommen, also war es nover weilte, gab es keine Dringlichkeit, sodass Händels mit insgesamt 41 Opernabenden und elf Aufführungen Dennoch brachte er 1734/35 eine relativ erfolgreiche Händel möglich, seine Spielzeit mit einer neuen Oper erste Aufführung im Covent Garden Theatre erst am von Oratorien. Die letzten Vorstellungen fanden im Juni Saison zustande, die ein gutes Repertoire vorzuweisen anlässlich der Hochzeitsfeierlichkeiten abzuschließen: 6. November stattfand, womit er immer noch früher statt, 14 Tage nach dem Programmabschluss der Adel- hatte, unter anderem auch seine neuen Opern Ariodante Atalanta. Dank einer kurzen Wiederaufnahme von Ari- begann als die Adelsoper. Es war damals üblich, neue soper. Es war jedoch gleichzeitig eine Art letzte Geste: und Alcina. odante gelang es ihm, insgesamt zehn Opernaufführun- Opern erst zum neuen Jahr vorzustellen, daher begann Händel organisierte keine weiteren konkurrierenden gen auf die Bühne zu bringen, dennoch war dies ein her- sein Programm mit Wiederaufnahmen von Alcina, Ata- Opernspielzeiten mehr und begann stattdessen eine Am Ende jener Spielzeit wurde jedoch das schon länger ber Kontrast zu den 42 Aufführungen aus der Spielzeit lanta und Poro.
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