A. Scarlatti - Griselda / R?schmann ? Zazzo ? Cangemi ? Fink ? Tro Santaf? ? van Rensburg ? Akademie f?r Alte Musik Berlin ? Jacobs

A. Scarlatti - Griselda / R?schmann ? Zazzo ? Cangemi ? Fink ? Tro Santaf? ? van Rensburg ? Akademie f?r Alte Musik Berlin ? Jacobs

A. Scarlatti - Griselda / R?schmann ? Zazzo ? Cangemi ? Fink ? Tro Santaf? ? van Rensburg ? Akademie f?r Alte Musik Berlin ? Jacobs
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Composer: Alessandro Scarlatti
Conductor: Rene Jacobs
Orchestra: Akademie fur Alte Musik Berlin
Performer: Dorothea Roschmann
Performer: Lawrence Zazzo
Performer: Veronica Cangemi
Performer: Bernarda Fink
Performer: Kobie van Rensburg
Performer: Silvia Tro Santafe
Performer: Nicolau de Figueiredo
Edition: Music CD
Format: Import
CD Release Date: 2003-10-14
Music Label: Harmonia Mundi Fr.
Soundtracks:
Music CD 1
  1. Sinfonia
  2. Act 1. Scene 1. Recitativo. Questo, o Popoli ... Coro. Or sei grande
  3. Act 1. Scene 2. Recitativo. Eccoti, o Sire
  4. Act 1. Scene 2. Aria. In volver ci? che tu brami
  5. Act 1. Scene 3. Recitativo. Resta, e saprai
  6. Act 1. Scene 3. Aria. Non sospira l'amor d'un regnante
  7. Act 1. Scene 4. Recitativo. Regina, se pi? badi
  8. Act 1. Scene 4. Aria. Nell'aspro mio dolor
  9. Act 1. Scene 5. Recitatvo. Troppo avvezza ? Griselda ... Aria. Che Regina
  10. Act 1. Scene 6 & 7. Sinfonio per lo sbarco
  11. Act 1. Scene 6 & 7. Aria. Come presto nel porto crudele
  12. Act 1. Scene 6 & 7. Recitativo. Germani, e ben entrambi
  13. Act 1. Scene 6 & 7. Aria. Bel labbro, ancor non sai
  14. Act 1. Scene 8. Recitativo. L'arcano in te racchiudi
  15. Act 1. Scene 8. Aria. Vago sei, volto amoroso
  16. Act 1. Scene 9. Recitativo. Omai pi? ... Aria. Godi, bell' alma
  17. Act 1. Scene 10 & 11. Recitativo. Roberto, i nostri venti
  18. Act 1. Scene 10 & 11. Aria. Non vi vorrei conoscere
  19. Act 1. Scene 13. Recitativo. Come! Tu nella reggia
  20. Act 1. Scene 13. Aria. Che bella tirannia
  21. Act 1. Scene 14. Recitativo. Everardo, o soave
  22. Act 1. Scene 14. Aria. Di' che sogno o che deliro
  23. Act 1. Scene 15. Recitativo & Aria. Con belt? s? proterva
  24. Act 1. Scene 16. Recitativo. Son le regie tue stanze
  25. Act 1. Scene 16. Aria. Non lasciar d'amar chi t'ama
  26. Act 1. Scene 17. Recitativo. Pria che d'amarti io lasci
  27. Act 1. Scene 17. Aria. Voi sospirate
  28. Act 1. Scene 18. Recitativo & Aria. Chi vide mai destino eguale al mio
Music CD 2
  1. Act 2. Scene 1. Aria. Mi rivedi, o selva ombrosa
  2. Act 2. Scene 2. Recitativo. Griselda, anima mia ... Aria. Colomba innamorata
  3. Act 2. Scene 3. Recitativo. Ho in petto una sol'alma
  4. Act 2. Scene 3. Aria. Agitata da fiera procella
  5. Act 2. Scene 4. Recitativo. Figlio, dove t'ascondo
  6. Act 2. Scene 4. Aria. Figlio! Tiranno! O Dio!
  7. Act 2. Scene 5. Recitativo. Non giovano lusinghe ... Aria. Belleze spietate
  8. Act 2. Scene 6. Recitativo. Ami forse Gualtiero?
  9. Act 2. Scene 6. Aria. Tu non intendi
  10. Act 2. Scene 7. Recitativo. Dove, o Roberto?
  11. Act 2. Scene 9. Recititavo. S?, con Amor mi sdegno ... Aria. Qualor Tiranno Amore
  12. Act 2. Scene 10. Recitativo. ? deliquio di core
  13. Act 2. Scene 10. Aria. Finir?, barbara sorte
  14. Act 2. Scene 10. Sinfonia di Caccia
  15. Act 2. Scene 12. Recitativo. Sola, se ben tu parti
  16. Act 2. Scene 12. Duetto. Non sei quella; eppure il core
  17. Act 2. Scene 13 & 14. Recitativo. De'tuoi begli occhi ? troppo indegno
  18. Act 2. Scene 13 & 14. Aria. Vorresti col tuo pianto
  19. Act 2. Scene 15, 16 & 17. Recitativo. Ecco Otton
  20. Act 2. Scene 15, 16 & 17. Trio. Ti voglio sempre odiar
Music CD 3
  1. Act 3. Scene 5. Recitativo. Eccomi innanzi al mio Monarca
  2. Act 3. Scene 5. Aria. Mi dimostra il tuo bel dono
  3. Act 3. Scene 6. Recitativo. Griselda; al sol cadente
  4. Act 3. Scene 6. Aria. Se il mio dolor t'offrende
  5. Act 3. Scene 7. Recitativo. Peno, ma per te peno
  6. Act 3. Scene 7. Aria. Ho in seno due fiammelle
  7. Act 3. Scene 8 & 9. Aria. Come va l'ape di fiore in fiore
  8. Act 3. Scene 8 & 9. Recitativo. Dunque sei risoluto
  9. Act 3. Scene 8 & 9. Duetto. Bella mano
  10. Act 3. Scene 10 & 11. Quartetto. Non fu mai colpa amor
  11. Act 3. Scene 13 & 14. Recitativo (tous). Terminate, o ministri
  12. Act 3. Scene 13 & 14. Coro. Coronatevi di fiori

Free Music Notes for A. Scarlatti - Griselda / R?schmann ? Zazzo ? Cangemi ? Fink ? Tro Santaf? ? van Rensburg ? Akademie f?r Alte Musik Berlin ? Jacobs

Free Music Review: Delightful recording of a Baroque masterpiece
Hit: 5 Stars

Finding a complete recording of any of Scarlatti's operas would be treat to any lover of Baroque opera. However, to find one with such a skillful and talented cast of singers under the direction of the redoubtable Rene Jacob is a true treasure. This profound and delightful recording, made in 2000, recreates Alessandro Scarlatti's final opera and thus gives modern listeners insights into the culminative genius of this great composer of the Baroque period. Dorothea R?schmann and Lawrence Zazzo (a counter-tenor of tremendous musical sensitivity and talent) sing the music of the two main characters beautifully, and the supporting cast (Veronica Cangemi, Silvia Tro Santaf?, Bernarda Fink, and a fine tenor Kobie van Rensburg) provide interpretations of great depth and vocal agility. Rene Jacobs and the Akademie f?r Alte Musik of Berlin are to be commended for the gorgeous interpretation of Scarlatti's score.This recording is well-edited: arias and recitatives are placed on their own tracks, allowing listeners to program their CD players with their favorite arias or skip the long recitatives if desired. Most of the arias are in the familiar Baroque da capo style, but require amazing vocal agility and sensitivity of emotion and rhythm on the part of the singers. The music is not as predictable as Handel's style, which adds to its charm and richness. Scarlatti's famous dislike of wind instruments is quite evident: nearly all of the characters' arias are accompanied by string instruments, giving them a subtle, plaintive, and melancholic tone. The recitatives are somewhat longer than a modern listener might be accustomed to, but nearly like arias in their emotional and melodic quality (Regula Rapp refers to them as "harmonically very complex"). The opera overture begins with a rousing fanfare of brass and strings, and the delightful journey does not end until the joyful strains of the final chorus. This recording is a "must buy" for veteran connoisseurs of Baroque opera, as well as for neophytes taking their first tentative steps into this genre.
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A. Scarlatti - Griselda / R?schmann ? Zazzo ? Cangemi ? Fink ? Tro Santaf? ? van Rensburg ? Akademie f?r Alte Musik Berlin ? Jacobs Poster

Griselda, the last of Alessandro Scarlatti's 70-or-so operas, was performed only once, in Rome in 1721. Conductor Ren? Jacobs has pared down the original 41 (!) arias to a mere 29--about three hours' worth--and they're splendid and varied in tone, orchestration and tempi, always throwing light on the complex characters. The disgusting plot shows us King Gualtiero, whose shepherdess wife Griselda was disliked by the people, so he gave away their daughter years before the opera begins and claimed that she had died. Now, with the people still disapproving, he puts Griselda through humiliating and hurtful tests, trying to break her, but all she wants is his happiness. The daughter shows up but Griselda doesn't recognize her; Gualtiero demands that their son be killed and that she, Griselda, be given to his slimy courtier, Ottone. That's where Griselda draws the line and the people finally give her the respect she deserves. She's a doormat--but with enough integrity to resist Ottone--and Gualtiero is a sadist who, in asides, feels bad about what he's doing to his wife. Very odd indeed. The performance is riveting enough to make you care about what happens. Dorothea R?schmann's Griselda is always noble, purposefully belying this character's humble origins; Lawrence Zazzo as Gualtiero is an unusually firm countertenor, and he uses his sound remarkably. The others in the cast--Baroque specialists Bernarda Fink , Veronica Cangemi and Kobie van Rensburg--are superb, and newcomer mezzo Silvia Tro Santaf? is a spicy, nasty Ottone. The orchestral playing is sharp, incisive, and dramatic. This is very highly recommended. --Robert Levine

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