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George Frideric HANDEL [I 685-1 759 0630-1 4636-2 ODD - .... Timing : 64 59 - 51 31 - 52'12 George Frideric HANDEL [i 685-1 759 ORLANDO Opera in 3 acts (I 73 3) Orlando Patricia BARDON. HUSZO-SOJW.IHO Oormda Rosa MANNIOiV. >of ..mo '. Medoro Hilary SUMMERS, coitiojho Angelica Rosemary JOSHUA, sjtfwMu1 Zoroastro Harrv van der KAMP, r>.I>> • . : DDD J nits . EE BIT TIE" RECORDING Les Arts Florissants sont subventionnés par le Ministère de la Culture la Ville de Caen, le Conseil Régional de Basse-Normàodie. PECHINEV^) parraine les Arts Florissants depuis 1"990. HANDEL Orlando B a r d o n - Mannion - Summers Joshua Van der Kamp GEORGE FRIDERIC HANDEL (1685-1759) ORLANDO opera m 3 Aas (1733) Orlando Patricia Bardon mezzo-soprano Angelica Rosemary Joshua soprano Queen of Cathcy, beloved of Medoro Reine de Cathay, amante de Medoro Königin von Cathay, Geliebte des Medoro Medoro Hilary Summers confra/fo African prince, beloved of Angelica Prince africain, omant d'Angelica Ein afrikanischer Prinz, Geliebter der Angelica Dorinda Rosa Mannion soprano Shepherdess/Bergere/Eine Schäferin Zoroastro Harry van der Kamp bass Mogician/Magicien/Ein Zauberer LES ARTS FLORISSANTS WILLIAM CHRISTIE George Frideric Handel © Roger Wollet Page/ Seite COMPACT DISC 1 64'59 Ouverture : 1 Lenremenf 3'22 37 l '46 37 2 A ec-c Atto primo 3 Sceno I "Geroglifici eterni!" (Zoroasiro) 2'36 37 4 Sceno II "Stimulate della gloria" (Orlando) 2'48 37 "Purgalo ormai" (Zoroastrol "Lascio amor" (Zcrocsrroì 4'07 40 6 Scena III "Imagini funeste" lOrlandoj l '28 40 7 "Non fù già men forte Alcide" (Orlando) 5'39 40 8 Scena rv "Quanto diletto avea" (Dorinda) 2'00 40 [TI "Itene pur tremendo" (Orlando, Dorinda) 0'38 42 [ÌO1 "Ho un certo rossore" (Dorinda) 3'20 42 11 Scena V "M'hai vinto al fin" (Angelica) 0'50 42 fjT "Ritornava al suo bel viso" (Angelica, Medoro) 2'03 45 Scena VI "Spera, mio ben" (Angelica, Medoro [ÌT "Chi possessore e del mio cor" (Angelica) 3'50 47 14 Scena VII "Ecco Dorinda" [Medoro, Dorinda) l'IO 47 fis" "Se il cor mai ti dirò" [Medoro] 6'0l 49 Scena Vili "Povera me" (Dorinda) FjT "0 care paroleìte" (Dorinda) 2'57 51 17 Scena IX "Noti a me sono" (Zoroastro, Angelico, Orlando) 2'02 51 FÌT "Se fedel vuoi ch'io ti creda" (Angelica) 4'41 55 Scena X "T'ubbidirò" ¡Orlando) rf9~ "Fammi combattere" (Orlando) 3'54 57 [20 ScenaXI "Angelica, deh lascia..." [Medoro, Angelica) i '57 57 Scena XII "0 Angelica, o Medoro" IDorindo, Angelica, Medoro) [2T "Consolati, 0 bella" (Dorinda, Angelica, Medoro) 7'51 61 COMPACT DISC 2 51'31 Atto secundo 1 Scena I "Quando spieghi i tuoi tormenti" IDorindo) 3'36 63 2 Scena II "Perchè, gentil Dorinda" (Orlando, Dorinda) 1 '50 63 m "Se mi rivolgo ol prato" IDorindo) 715 65 4 Scena III "E queste la mercede" (Orlando) 5'08 67 Scena IV "A qual rischio" ¡Zoroosiro, Angelica, Medoro) FTl "Tra caligini profondi" (Zoroastro) 4'09 69 6 Scena V "Da queste amiche piante" (Angelico, Medoro) 1 '02 69 m "Verdi allori" (Medoro) 712 71 Scena VI "Dopo tanti perigli" ¡Angélica) i~8Ì "Non potrà dirmi ingrata" ¡Angélica) 3'31 71 9 Scena VII "Dove guidate" (Orlando) 1 '25 73 Scena Vili "Tutto a poter partir" (Angelica) 7'38 73 T(T "Verdi piante" ¡Angélica] ÌTTI "Ah! perfida" ¡Orlando) 0'55 75 Scena IX "Ohimè! che miro?" ¡Medoro) Scena X "Amor, caro Amore!" ¡Angélica) 12 Scena XI "Ah! stigie larve" ¡Orlando) 2'08 77 13 "Già latra Cerbero" l'43 77 14 "Voghe pupille" 3'58 79 COMPACT DISC 3 52'12 Atto terzo ~T~ Scena I : Sinfonia 1 '56 79 "Di Dorinola alle mura" [Medoro, Dorinda) TTI "Vorrei poterti amar" [Medoro) 3'49 8 ! ~T Scena II "Più obligate gli sono" IDorindal 1 '35 81 Scena III "Pur ti trovo" [Orlando, Dorinda) [Ti "Unisco amor in noi" {Orlando, Dor'mda) 2'14 85 \T\ "Già lo stringo" [Orlando] 2'28 87 ITI Scena IV "Di Dorinda all'albergo" [Angelica, Dorindaj 0'46 87 IT1 "Cosi giusta è questa speme" [Angelica] 7'39 89 Scena V "S'è corrisposto un core" (Dorinda) [~8~ "Amor è qual vento" (Dorinda) 5'0C 91 [jTj Scena VI "Impari ognun da Orlando" (Zoroastro) 1 '33 91 "0 voi, del mio poter" pur "Sorge infausta une procella" (Zoroastro) 4'3ó 93 TT Scena VII "Dorinda, e perchè piangi" (Angelico, Dorinda) 1 '29 93 Scena Vili "Più non fuggir potrai" (Orlando, Angelico) PJjT "Finché prendi ancor il sangue" (Angelico, Orlando) 2'38 95 [TU "Vieni!" [Orlando, Angelica! l'41 97 "Già per lo man d'Orlando" (Orlando) FTT1 "Già l'ebro mio ciglio' [Orlando! 4'51 97 IT Scena IX "Ecco il tempo prefisso!" [Zoroastro! 3 06 99 "Tu, che del gron Tonante" (Zoroastre, Dorinda) fl?1 "Dormooncora" [Orlando. Dorinda) l'IS 101 fj71 "Per far, mia diletta" [Orlando) 0'59 103 18 Scena ultima "Orlando si mora" (tutti) - "Dei viver ancora" (Angelica) 2' 11 103 "Vinse in canti" 19 Coro "Trionfa oqqi'l mio cor" (tutti) 2'23 105 LES ARTS FLORISSANTS Hiro Kurosaki, Catherine Girard, Dario Luisi, Guya Martinini, Valerie Moscia, Clemens Nuszbaumer ( 1 ], Michèle Sauvé, George Willms, Fabrizio Zanella (2), Bernadette Chcrbonnier, Roberto Crisafulli, Sophie Gevers-Demoures, Martha Moore, Susanne Scholz, Peter Van Boxelaere, Ruth Weber, violin Galina Zinchenko, Simon Heyerick, Laurence Duval, Michel Renard, Anne Weber, viola Emmanuel Balssa (1), David Simpson []), Elena Andreyev Damien Launoy (2), Michel Murgier(2], Ulrike Brutt (2), cello Hugo Reyne (1 ), Sébastien Marq, Michèle Tellier (2|, recorder Christian Moreaux, Geoffrey Burgess, Machiko Ueno, oboe Claude Wassmer, Philippe Miqueu, bassoon Crispin Ward, Simon Growcott, horn Galina Zinchenko, Simon Heyerick, violetta marina Continuo: Paul Carlioz, Alix Verzier, cello Richard Myron, Michael Greenberg, double-bass Jonathan Rubin, lute Emmanuelle Hai'm, Laurence Cummings, harpsichord Rita de Letteriis, language coach Production of the Festival International d'Art Lyrique et de Musique d Aix-en-Provence 1993 Musical direction: William Christie Director: Robert Carsen Set & Costume designer: Anthony McDonald Lighting: Dominique Brugiere (1) Recording 16/23/01/1996 (2) Recording 5/6/03/1996 Digital recording Producer: Martin Sauer Sound engineer: jean Chatauret & Michel Pierre Assistant: Didier Jean Editing: Alexia Benoît, Martine Guers-Fernoux Recording: 16-23/01/1996 (1) & 5-6/03/1996 [2], Salle Wagram, Paris Front cover: Wisdom triumphant over the vices [detail), Andrea Maniegnafl 431-1506) From the studio of Isabella d'Este at Mantua, Italy - Oil on canvas (c. 1502) Le Louvre, Département des Peintures, Paris, France © Magnum Back cover: William Christie, photo Michel Szabo Design: De l'Esprit © Erato Disques S.A., Paris, France 1996 CONTENTS/TABLE/INHALT Page/ Seite Ivan A. Alexandre . Orlando Healed by madness u Anthony Hicks Synopsis Ivan A. Alexandre - Orlando guéri par la folle Anthony Hicks „. Argument Ivan A. Alexandre _ Orlando durch Wahnsinn gehellt l/ Anthony Hieb ,. Inhaltsangabe Libretto 36 H. van der Kemp. Photo M. Szabo Orlando healed by madness Siennese origins. And at the same time as his troupe, Ivan A. Alexandre Handel lost his theatre. Orlando and Arannc were premiered at the King's Theatre, but his six following n the morning of January 27th 1733, the works had to take refuge in the new and far less Obndon public learnt through the press that "At prestigious Covent Garden. the King's Theatre, this present Saturday, will be So there is a twilight atmosphere surrounding Orfcndo. perform'd, a new Opera, call'd, Orlando. Wherein the However, there is nothing in ihe music itself to suggest Cloaths and Scenes are ell entirely New." At that time, fatigue - as happened seven years later, when another George Frideric Handel, British citizen for five yeas crisis drove the composer from the operatic scene for and comfortably installed in his Lower Brook Stree' good. With Orlando, there is rather a sense or house for ten, haa several good reasons for feeling renewal, for the opera can be seen as the first part of content. His rival Bononcini had left the country. His an "Ariosto trilogy", being swiftly followed by previous opera, Sosarme, had enjoyed an honest Ariodanle and Nana 11735): aromas likewise inspired success. A public performance of his first English by the poet's Orlando krioso, and masterpieces or the oratorio Ester had been well received, heralding an same calibre as G'mlio Cesare, Jomerlano and era of creativity in a new field. Nevertheless, that very kodelindo, which had brought the composer so many same month, January 1733, we find John West, Earl of laurels in the previous decade. Delawarr, writing to the Duke of Richmond: Carlo Sigismondo Capece, who had provided the "There is a Spirit got up against the dominion of young Handel with the text of his first sacred oratorio, Mr. Handel, a subscription carry'd on, and Directors la kesunezione (Rome, 1708), had originally written chosen, who have contracted with Senesino, and have l-Orlando owero Ic Geiosc Pozzia for Domenico sent for Cuzzoni, and Farinelli, it is hoped he will come Scarlatti [Rome 1711 ]. In his libretto, he makes use of as soon as the Catneval of Venice is over, if not sooner. several episodes taken from Books 19 to 38 of Tie General Court gave power to contract with any Orlando furioso: how Queen Angelica succours the Singer excepi Sirada, so that it is Thought Handel must wounded Prince Medoro; how they fall in love with fling up " each other; how ihe Knight Roland also becomes With Porpora as composer, and Farinelli as star singer, infatuated with Angelica; how his love leads to a new company, the Opera of the Nobility jealousy, and his jealousy to madness; how he recovers las opoosed to that "of the King") was starting its his reason after a long period of wandering, destroying ascent, while the golden age of Handelian opera was everything in his path.
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