~ Anne Sofie von Otter
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~ Georg Friederich Handel
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~ Porpora
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Handel - Rinaldo / Bartoli, Daniels, Fink, Finley, Orgonasova, Taylor, AAM, Hogwood ~ Cecilia Bartoli |
~ Simone Kermes
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| Disc: 1 | |||
|---|---|---|---|
| 1. Alcina: Sinfonia | |||
| 2. Alcina: Minuet | |||
| 3. Alcina: Musette | |||
| 4. Alcina: Atto 1, Scena I: Recitativo - Oh Dei! quivi non scorgo alcun sentiero! (Bradamante) | |||
| 5. Alcina: Atto 1, Scena I: Aria - O s'apre al riso (Morgana) | |||
| 6. Alcina: Atto 1, Scena II: Coro - Questo e il cielo de' contenti | |||
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| Disc: 2 | |||
| 1. Alcina: Atto II, Scena I: Arioso - Col celarvi a chi v'ama (Ruggiero) | |||
| 2. Alcina: Atto II, Scena I: Recitativo - Taci, taci, codardo (Melissa) - Arioso - Qual portento mi richiama (Ruggiero) | |||
| 3. Alcina: Atto II, Scena I: Recitativo - Ah, Bradamante! (Ruggiero) | |||
| 4. Alcina: Atto II, Scena I: Aria - Pensa a chi geme d'amor (Melissa) | |||
| 5. Alcina: Atto II, Scena II: Recitativo - Qual adio ingiusto contro me? (Bradamante) | |||
| 6. Alcina: Atto II, Scena II: Aria - Vorrei vendicarmi (Bradamante) | |||
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| Disc: 3 | |||
| 1. Sinfonia | |||
| 2. Atto III, Scena I: Recitativo - Voglio amar e disamar (Oronte) | |||
| 3. Atto III, Scena I: Aria - Credete el mio dolore (Morgana) | |||
| 4. Atto III, Scena I: Recitativo - M'inganna, me n'avveggo (Oronte) | |||
| 5. Atto III, Scena I: Aria - Un momento di contento (Oronte) | |||
| 6. Atto III, Scena II: Recitativo - Molestissimo incontro! (Ruggiero) | |||
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On the surface, Alcina's Ariosto-based story about a sorceress whose spell is finally broken seems like the typically absurd fare of baroque opera. But as the story unfolds in an incredible succession of some 28 arias, it's clear that these performers are reaching for deeper profundities present in Handel's music. Renée Fleming makes Alcina's huge Act II aria "Ah! mio cor" a central epiphany and turning point of the opera. It defies belief that this is Susan Graham's first baroque opera, so rich is her variety of invention and deep her musicality as Ruggiero, the one to break free of Alcina's spell, while the spun-silk soprano of Nathalie Dessay adds yet another colour to the multitude of female voices that dominate here. --Thomas May
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