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Handel - Ariodante - excs Original recording reissued
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1. Overture - Various Composers
2. Arioso: Qui D'amor
3. Aria: Volate, Amori
4. Aria: Voli Colla Sua Tromba
5. Aria: Con L'ali Di Costanza
6. Aria: Spero Per Voi
7. Aria: Il Primo Ardor
8. Aria: Tu Vivi, E Punito
9. Aria: Scherza Infida
10. Arioso: Se Tanto Piace Al Cor
11. Aria: Invida Sorte
12. Ballo: Entree Des Songes Funestes
13. Sinfonia/ Aria: Numi! Lasciarmi Vivere
14. Aria: Io Ti Bacio
15. Duetto: Dite Spera, E Son Contento
16. Aria: Dopo Notte, Atra E Funesta
17. Ballo: (1). 2. Rondeau. 3. Coro: Sa Trionfar
Top customer reviews
on 2 March 2014
Format: Audio CDVerified Purchase
This is largely an excellent recording, though it's a pity it's only excerpts. Lorraine Hunt Lieberson as Ariodante is in superb form, especially in the wonderful "Scherza Infida", though Ginevra is perhaps a little shrill. The only real problem was with the packaging which was definitely inadequate. It had come from America in a thin jiffy bag and both the front & back covers of the CD box were considerably cracked: the seller needs to give this serious consideration in future.
Most helpful customer reviews on Amazon.com
Amazon.com: 2 reviews
3 people found this helpful.
Never tire of it
on 29 September 2008 - Published on Amazon.com
Format: Audio CDVerified Purchase
My favorite Handel opera CD - absolutely beautiful - never tire of listening to it - highlights, no recitatives.
5 people found this helpful.
Another quite unforgettable recording of Handel's opera music
on 8 May 2009 - Published on Amazon.com
Format: Audio CD
On first listening I was beginning to think that this highlights recording was a little inferior to the great Alan Curtis recordings that I have been wallowing in for the past several days, but then I got to the first bass aria by Nicolas Cavallier, and I had to suspend my opinion. Freiburger Barockorchester is certainly one of the finest baroque ensembles I know, and I have nothing but the greatest respect for all of their recordings. And McGegan is a great Handel conductor, if not quite the equal of Curtis. Moreover, Ariodante is one of the greatest of Handel's many great operas. The soloists on this recording are mostly unfamiliar to me, but they are all first rate. And Lorraine really comes into her own when it gets to aria number 5 on the disk (even if one hardly recognizes it as Lorraine). By the same token, when it came to this opera's most famous aria, Scherza infida, I was totally captivated, but I didn't realize it was Lorraine until I looked. I have not heard the Minkowski recording, but my experience of his other recordings suggests that there may be a lot of dramatic and musical excitement in his version, compared to the lyrical quality of this recording -- but of course I must hear it before I can compare. At any rate, this recording is of the very highest quality throughout in terms of the period-instrument orchestral playing, and it is peppered with unforgettable performances by the soloists. I give it four stars because it does not quite equal Curtis's Alcina and several other of his Handel opera recordings, but who is complaining? There is a bit of a different style here, due to the combination of McGegan, the Freiburger Barockorchester, and Lieberson, so any lover of Handel's music will want to have it. And they will treasure it for a long time, I might add, especially considering that it is one of a limited number of Lorraine's recordings of Handel opera music, and she unfortunately got called to be with the Lord a lot earlier than she should have been. Lorraine, we love you! Thanks for leaving your soul with us on these recordings!
11 people found this helpful.
Elegant and refined with sublime singing by Hunt
on 19 March 2007 - Published on Amazon.com
Format: Audio CD
The overall effect of this interpretation of Ariodante by McGegan is one of elegance, refinement and emotional intensity that flows without being pushed and touches the soul with its singing without being overcontrolled and calculated. This is the main difference between this version and the Minkowski version which has many great moments of lovely singing which surpass the McGegan soloists often, but which is sometimes rushed with overcalculated and overly controlled singing on Otter's part which tarnishes the interpretation. Otter seems not to be really immersed in the part whereas Hunt is. Unforunately the complete recording of this McGegan interpretation is out of print, so get the highlights (this edition)and wait for the re-issue of the complete version.