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Customer Reviews
Most Helpful Customer Reviews
16 of 17 people found the following review helpful
Format:Audio CD
This recording has had universally strong reviews, so I write this with a certain degree of trepidation.
However, I am going to stick my proverbial neck above the parapet by some distance and disagree with the overwhelming majority. For me it just doesn't quite work.
My first encounter with Tolomeo was a radio recording (broadcast on BBC Radio 3 as I recall) of a live opera house performance conducted by Howard Arman, with the countertenor Axel Kohler in the title role. Listening to this recording I was struck by the attractiveness of the music in general and in particular the quality of some of the scenes, especially the closing stages of act two.
As a result I eagerly awaited a commercial recording and we finally have one.
I have to say that this set is, at least on paper, ideal in every way. Cast and orchestra are both in fine form. The sound quality is superb. In contrast to Arman's radio recording there are no coughs and annoying stage noises here. No hiss from my analogue radio. No dreary Radio 3 commentary. The problem is there is also no real excitement!
Alan Curtis's direction is they key issue for me - it's all a bit too moderate and safe. Tempi are careful throughout and I longed for more variety. The fast music generally lacks real pace, energy and "oomph". Indeed, at no stage during the 3 hours or so did the fast music truly grab my attention, although the allegro sections of the overture and Araspe's aria in act two are both quite effective.
Some of the slow music drags its heels a bit too. For example, the gorgeous aria that closes act one really needs a little more pace injected into it. The glorious closing stages of act two don't exactly fizz either.
I also felt there was a real lack of poetry in the slow music - it all seems a bit heavy-handed and lacking delicacy/grace.
While the cast is perfectly good, no one really stands out for me. Araspe in particular sounds a bit too nice for this villainous role.
Ultimately, I can't complain too much - and ironically I can certainly recommend the set without reservation to hardcore Handel opera lovers. However, I was left with that same feeling that a woman might experience when she marries a "nice" bloke - all very safe and secure, but where's the frisson, the "x-factor", the excitement?
If this is your idea of musical nirvana then clearly we will have to agree to differ on this occasion. However, I invite other listeners to add their own review and shoot me down in flames as appropriate. My finger is hovering over the "ejector seat" button in readiness.....
However, I am going to stick my proverbial neck above the parapet by some distance and disagree with the overwhelming majority. For me it just doesn't quite work.
My first encounter with Tolomeo was a radio recording (broadcast on BBC Radio 3 as I recall) of a live opera house performance conducted by Howard Arman, with the countertenor Axel Kohler in the title role. Listening to this recording I was struck by the attractiveness of the music in general and in particular the quality of some of the scenes, especially the closing stages of act two.
As a result I eagerly awaited a commercial recording and we finally have one.
I have to say that this set is, at least on paper, ideal in every way. Cast and orchestra are both in fine form. The sound quality is superb. In contrast to Arman's radio recording there are no coughs and annoying stage noises here. No hiss from my analogue radio. No dreary Radio 3 commentary. The problem is there is also no real excitement!
Alan Curtis's direction is they key issue for me - it's all a bit too moderate and safe. Tempi are careful throughout and I longed for more variety. The fast music generally lacks real pace, energy and "oomph". Indeed, at no stage during the 3 hours or so did the fast music truly grab my attention, although the allegro sections of the overture and Araspe's aria in act two are both quite effective.
Some of the slow music drags its heels a bit too. For example, the gorgeous aria that closes act one really needs a little more pace injected into it. The glorious closing stages of act two don't exactly fizz either.
I also felt there was a real lack of poetry in the slow music - it all seems a bit heavy-handed and lacking delicacy/grace.
While the cast is perfectly good, no one really stands out for me. Araspe in particular sounds a bit too nice for this villainous role.
Ultimately, I can't complain too much - and ironically I can certainly recommend the set without reservation to hardcore Handel opera lovers. However, I was left with that same feeling that a woman might experience when she marries a "nice" bloke - all very safe and secure, but where's the frisson, the "x-factor", the excitement?
If this is your idea of musical nirvana then clearly we will have to agree to differ on this occasion. However, I invite other listeners to add their own review and shoot me down in flames as appropriate. My finger is hovering over the "ejector seat" button in readiness.....
13 of 14 people found the following review helpful
Format:Audio CD
Following their very highly succesful 'Floridante' and 'Rodelinda' recordings on Archiv, Alan Curtis and Il Complesso Barocco now give us this rarity.
Tolomeo is one of the five operas written for Senesino and the rival sopranos Cuzzoni and Bordini.
They had exceptional talents and to cope with the technical demands for today's singers is not easy. But what a team we have here!
As usually (and luckily), Alan Curtis prefers a mezzo soprano to a countertenor for the part of Senesino, and Ann Hallenberg is very successful in it.
She does not have the individuality of Mijanovic, but the latter seems to be an acquired taste for many Handelians. Hallenberg is more 'middle of the road' but a very accomplished singer. She is incredibly moving in her aria 'Torna sol per un momento' which concludes the first act. Another highlight is the third act 'Stille amare', in which Tolomeo thinks he is poisoned, but of course this is not the case.
The two prima donnas are sung by Anna Bonitatibus (Elisa) and Karina Gauvin (Seleuce) and their performances are a delight from start to finish. They have each two arias in every act, and there is not a weak number to find.
Which one can I pick? Seleuces 'Fonte amichi' in the first act with the flute obligato, or her act two 'Dite, che fa, dov'è' which eventually becomes a duet (in echo) with Tolomeo? Elisa's 'Quanto è felice' in act two with the exciting high notes in the da capo ornamentation, or her vengeance aria 'Ti pentirai, crudel' in act three?
We have two new Handel sopranos in the league of Lynne Dawson, Rosemary Joshua and Joyce Di Donato!
The two other minor characters are Alessandro, sung by Romina Basso and the villian Araspe, taken by Pietro Spagnoli. Their contribution is no less than stylish, but they are somewhat overshadowed by the three stars.
Each act is on one cd, and no compressing here as in Curtis' Lotario on DHM. Translations of the notes and libretto in English, French and German as can be expected from Archiv.
If you love 'Giulio Cesare', 'Orlando' and 'Alcina', you will certainly like 'Tolomeo'. The music is first rate Handel.
According to information on the web, 'Ezio', 'Alcina' and 'Siroe' will be next to be recorded by Alan Curtis. I just can not wait to hear those, hopefully with Bonitatibus and Gauvin.
Tolomeo is one of the five operas written for Senesino and the rival sopranos Cuzzoni and Bordini.
They had exceptional talents and to cope with the technical demands for today's singers is not easy. But what a team we have here!
As usually (and luckily), Alan Curtis prefers a mezzo soprano to a countertenor for the part of Senesino, and Ann Hallenberg is very successful in it.
She does not have the individuality of Mijanovic, but the latter seems to be an acquired taste for many Handelians. Hallenberg is more 'middle of the road' but a very accomplished singer. She is incredibly moving in her aria 'Torna sol per un momento' which concludes the first act. Another highlight is the third act 'Stille amare', in which Tolomeo thinks he is poisoned, but of course this is not the case.
The two prima donnas are sung by Anna Bonitatibus (Elisa) and Karina Gauvin (Seleuce) and their performances are a delight from start to finish. They have each two arias in every act, and there is not a weak number to find.
Which one can I pick? Seleuces 'Fonte amichi' in the first act with the flute obligato, or her act two 'Dite, che fa, dov'è' which eventually becomes a duet (in echo) with Tolomeo? Elisa's 'Quanto è felice' in act two with the exciting high notes in the da capo ornamentation, or her vengeance aria 'Ti pentirai, crudel' in act three?
We have two new Handel sopranos in the league of Lynne Dawson, Rosemary Joshua and Joyce Di Donato!
The two other minor characters are Alessandro, sung by Romina Basso and the villian Araspe, taken by Pietro Spagnoli. Their contribution is no less than stylish, but they are somewhat overshadowed by the three stars.
Each act is on one cd, and no compressing here as in Curtis' Lotario on DHM. Translations of the notes and libretto in English, French and German as can be expected from Archiv.
If you love 'Giulio Cesare', 'Orlando' and 'Alcina', you will certainly like 'Tolomeo'. The music is first rate Handel.
According to information on the web, 'Ezio', 'Alcina' and 'Siroe' will be next to be recorded by Alan Curtis. I just can not wait to hear those, hopefully with Bonitatibus and Gauvin.
5 of 6 people found the following review helpful
Format:Audio CD
'Tolomeo' is the last of the operas written for the rival sopranos Cuzzoni and Bordoni. After this opera, Handel's current company broke up and all went their separate ways. Richard Auldon Clark recorded the opera on the Vox label some years ago with some decent soloists but chopped the score about a bit and added in some unnecessary orchestral pieces. On the whole this was nevertheless a decent version of the piece until Alan Curtis came along with something much better!
Curtis' 'Tolomeo' is more complete and has, on balance, a better cast and is certainly more compellingly conducted and played. Ann Hallenberg puts in another flawless star turn in the title role and it is not her fault that Tolomeo is not exactly one of the strongest roles ever written for Senesino! This time it was Cuzzoni's turn to play the faithful wife and Karina Gauvin is just lovely as Seleuce (although to be fair, Brenda Harris on the earlier recording also has some very good moments). Her rival Elisa is excitingly sung by Anna Bonitatibus in warm mezzo-ish tones - her 'Quell'onda che si frange' is fantastic! Another favourite mezzo soprano of mine, Romina Basso does much with the small role of Alessandro and Pietro Spagnoli gets the rather thankless role of the villianous bass Araspe.
This is a terrific recording and really surpasses the earlier one - highly recommended.
Curtis' 'Tolomeo' is more complete and has, on balance, a better cast and is certainly more compellingly conducted and played. Ann Hallenberg puts in another flawless star turn in the title role and it is not her fault that Tolomeo is not exactly one of the strongest roles ever written for Senesino! This time it was Cuzzoni's turn to play the faithful wife and Karina Gauvin is just lovely as Seleuce (although to be fair, Brenda Harris on the earlier recording also has some very good moments). Her rival Elisa is excitingly sung by Anna Bonitatibus in warm mezzo-ish tones - her 'Quell'onda che si frange' is fantastic! Another favourite mezzo soprano of mine, Romina Basso does much with the small role of Alessandro and Pietro Spagnoli gets the rather thankless role of the villianous bass Araspe.
This is a terrific recording and really surpasses the earlier one - highly recommended.
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Most Recent Customer Reviews
The essence of Handel's dramatic art
Handel's Tolomeo of 1728 came at a time of difficulties for the Royal Academy of Music; as a result of internal dissensions many thought that opera would not last another season. Read more
Published 15 months ago by E. L. Wisty
Wonderful music
This opera was unfamiliar to me but I can highly recommend this disk set. The singing is lovely and it is packed full of wonderful arias. Read more
Published on 7 Sep 2009 by Lomond
HAPPILY EVER AFTER
The libretto of Tolomeo is not as weighty as one might think at a first glance. As well as Ptolemy there is a (non-singing) Cleopatra involved, but these are not the most famous... Read more
Published on 30 Mar 2008 by DAVID BRYSON
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