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Johannes Somary, AmorArtis Orchestra - Handel: Sosarme (1994)

Posted By: ArlegZ
Johannes Somary, AmorArtis Orchestra - Handel: Sosarme (1994)

Johannes Somary, AmorArtis Orchestra - Handel: Sosarme (1994)
EAC | FLAC | Image (Cue & Log) ~ 590 Mb | Total time: 60:57+68:08 | Scans included
Classical | Label: Newport Classic | NPD 85575 | Recorded: 1993

Baroque conductor Johannes Somary directs a distinguished cast led by John Aler, Julianne Baird, countertenor Drew Minter, D’Anna Fortunata, Jennifer Lane, Nathaniel Watson, Raymond Pellerin and the Armor Artis Orchestra. A tale of violent court intrigue civil strife, frustrated love, ambition and suicide.

Rudolph Palmer, Brewer Baroque Chamber Orchestra - George Frideric Handel, Giovanni Bononcini: Muzio Scevola (1992)

Posted By: ArlegZ
Rudolph Palmer, Brewer Baroque Chamber Orchestra - George Frideric Handel, Giovanni Bononcini: Muzio Scevola (1992)

Rudolph Palmer, Brewer Baroque Chamber Orchestra - George Frideric Handel, Giovanni Bononcini: Muzio Scevola (1992)
EAC | FLAC | Image (Cue & Log) ~ 535 Mb | Total time: 58:08+57:48 | Scans included
Classical | Label: Newport Classic | NPD 85540 | Recorded: 1991

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.

Stephen Alltop, The Queen’s Chamber Band - Caldara: Il giuoco del Quadriglio / The Card Game (2004)

Posted By: ArlegZ
Stephen Alltop, The Queen’s Chamber Band - Caldara: Il giuoco del Quadriglio / The Card Game (2004)

Stephen Alltop, The Queen’s Chamber Band - Caldara: Il giuoco del Quadriglio / The Card Game (2004)
EAC | FLAC | Image (Cue & Log) ~ 265 Mb | Total time: 65:40 | Scans included
Classical | Label: Albany Records | TROY 705 | Recorded: 2004

Interesting, off-the-beaten-path items like Antonio Caldara's Il Giuoco del quadriglio (The Card Game) are great attention-getters. After all, who with even a passing interest in early music wouldn't be curious about a chamber opera from the 1730s consisting of nothing but contentious women playing cards? But if there's magic to be found in the piece – a beauty, energy, or comedy to make it something of more than academic interest – you are unlikely to find it in this recording, which is hampered by cautious vocalism and a lack of expressive imagination.

Elaine Comparone, The Queen's Chamber Band - Alessandro Scarlatti: La Giuditta (2007)

Posted By: ArlegZ
Elaine Comparone, The Queen's Chamber Band - Alessandro Scarlatti: La Giuditta (2007)

Elaine Comparone, The Queen's Chamber Band - Alessandro Scarlatti: La Giuditta (2007)
EAC | FLAC | Image (Cue & Log) ~ 407 Mb | Total time: 45:00+48:03 | Scans included
Classical | Label: Albany Records | TROY904/905 | Recorded: 2006

This biblical story, with its historical references to specific cities, generals and kings, is accepted as canon by Roman Catholic theologians, although it doesn t appear in either Hebrew or Protestant scriptures. The Book of Judith is set in the time of the mighty Assyrian ruler Nebuchadnezzar, King of Nineveh. Seeking to expand his empire, the king sends armies, led by General Holofernes (Oloferne), to subdue neighboring kingdoms, all of whom surrender under his powerful forces. The only ones who refuse to capitulate are the Israelites, who cordon off their mountain passes and gather provisions to resist a siege. Instead of a massacre, Holofernes discovers and commandeers their water sources.

Julianne Baird, Tempesta di Mare - Handel: Flaming Rose - Nine German Arias, Trio Sonatas (2007)

Posted By: ArlegZ
Julianne Baird, Tempesta di Mare - Handel: Flaming Rose - Nine German Arias, Trio Sonatas (2007)

Julianne Baird, Tempesta di Mare - Handel: Flaming Rose - Nine German Arias/Neun Deutsche Arien; Trio Sonatas (2007)
EAC | FLAC | Image (Cue & Log) ~ 316 Mb | Total time: 69:14 | Scans included
Classical | Label: Chandos | # CHAN0743 | Recorded: 2006

Handel’s group of nine German arias, composed in London in the mid 1720s, is unique in his vocal output. They are not big display pieces, and they are not excerpts from operas or oratorios. In fact, we don’t know much about the purpose behind their composition. Catriona MacLeod’s excellent notes make a good case for these having been written for private in-home performances, like the trio sonatas with which Chandos fills out this disc. These are significantly more intimate and inward-looking arias than much of Handel’s vocal writing, reflective in nature—and also chamber-like in the musical relationships between voice and instruments.

Rudolph Palmer, Brewer Chamber Orchestra - Handel: Faramondo (1996)

Posted By: ArlegZ
Rudolph Palmer, Brewer Chamber Orchestra - Handel: Faramondo (1996)

Rudolph Palmer, Brewer Chamber Orchestra - Handel: Faramondo (1996)
EAC | FLAC | Image (Cue & Log) ~ 787 Mb | Total time: 63:48+49:29+56:57 | Scans included
Classical | Label: Vox Classics | # 7536 | Recorded: 1996

‘Faramondo’ was produced in 1738 at the King’s Theatre in the Haymarket after the collapse of the rival Opera of the Nobility. This means that, unlike some of his Covent Garden operas which were produced whilst his rivals performed at the King’s Theatre, ‘Faramondo’ was written for a superb cast which included the bass Antonio Montagnana sang the role of King Gustavo and the castrato Carestini (making his London debut) in the title role. Writing for such fine singers means that Handel takes for granted the ability to sing virtuoso passages. In fact, singers would have expected to be able to display their talents in the requisite number of arias. These arias were crafted (or fine tuned) once the cast was known, so that they take advantage of the best points of a singer’s voice. King Gustavo’s arias takes good advantage of Montagnana’s amazing range and all the singers would have expected the divisions to lie in the best part of their voices.

Rudolph Palmer, Brewer Chamber Orchestra - Handel: Deidamia (2001)

Posted By: ArlegZ
Rudolph Palmer, Brewer Chamber Orchestra - Handel: Deidamia (2001)

Rudolph Palmer, Brewer Chamber Orchestra - Handel: Deidamia (2001)
EAC | FLAC | Image (Cue & Log) ~ 790 Mb | Total time: 60:53+66:21+53:50 | Scans included
Classical | Label: Albany Records | # TROY 460 | Recorded: 2001

Here we have the first recording of Handel's final Italian opera with a period instrument orchestra, chorus and a superb American cast. Deidamia was Handel's last opera. He began work on it in October, 1740, at the same time he was completing its companion work, Imeneo, which he had begun two years earlier. On November 8, Handel presented his London winter season - with some new works, some revivals - and for this purpose had engaged the Theatre Royal at Lincoln's Inn Fields. Opening night saw a semi-staged version of the serenata Il Parnasso in festa; later in the month came the premiere of Imeneo. Despite a superb score and fine cast, the production was a failure and was offered only once again in early December. The fact is that opera - Italian opera - was passe in London by this time. The public had turned to other musical delights - stage works in English of a more frivolous nature than Handel's offerings.