Handel's Almira: "Der Himmel wird straffen dein falsches Gemüht"
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- Опубликовано: 21 ноя 2017
- Amanda Forsythe (Edilia) and ensemble. Boston Early Music Festival, recorded June 13, 2013. Paul O'Dette & Stephen Stubbs, Musical Directors; Gilbert Blin, Stage Director & Set Designer; Caroline Copeland & Carlos Fittante, Choreographers; Anna Watkins, Costume Designer; Lenore Doxsee, Lighting Designer.
Video by Kathy Wittman, Ball Square Films.
Audio by WCRB Classical Radio Boston. 
Видеоклипы
The best voice. What skills! Simply Wonderful.
I don't think constant wide vibrato was used until around the 1820s, and even then it was generally regarded as atypical and frowned upon. Can't vocalists specializing in Baroque opera suppress this anachronistic technique, in an effort to provide a more historically informed performance for listeners (the way the accompanying instrumentalists are doing so well)?
This one and „Proverai“ are one of the best Haendel performances I ever heard, singing, music and choreography. I would like to see this production in Europe. 😁👏🏻👏🏻👏🏻👏🏻👏🏻
Stunning singing! Great staging, bravo to all involved!
Everything about this is flawless.
Except that constant wide vibrato of this type wasn't used by operatic vocalists at the time this opera was composed. If the instrumentalists are performing this music in historically informed manner, it would be even better if the vocalists would also do so.
@@dbadagna Tempora mutantur, nos et mutamur in illis
Great performance!!!
The text in German:
Der Himmel wir strafen dein falsches Gemüth.
Die Rache wir lohnen verborgene
Tükke, verstören, verkehren, versehren, verheeren
dein zeitliches Glück, dass Ruh’
und Vergnügung sich deiner entzieht.
Valo!! mira donde te encuentro! Supongo que Mr Handel lo escribió en Italiano?
@@omarzagmuttcahbar4896 Almira was written in German, but with some italian arias in it.
thank you Anders!
@@anderswelt1641 Yes. His next 3 operas, Nero, Daphne and Florindo, were also German operas, but the music was lost :(
@@omarzagmuttcahbar4896 One of the peculiarities of operas written for Hamburg's leading opera house, the "Oper am Gänsemarkt", was their bilinguality. Most of the dialogue would be in German, with arias in German or Italian, seemingly at the whim of the librettist. As someone else has pointed out, the other three operas Handel wrote in Hamburg are the same way. This essentially made them unusable elsewhere, which may be one reason that the music for three of them is lost. "Almira" was saved because Telemann made a new conducting score for a revival in the 1720's when he was the opera director.
wow... simply wow. I always enjoy Amanda.
Brilliant singing and staging
Omc! Amanda looks really like a Queen.
Seems like she came from centuries to us . I am on your service Your Majesty (✿◠‿◠)
Heart Surgery by Händel for broken hearts.
Donner undt Blitzen ! Bravo Amanda & Company. The best Rendition of a Handel Aria I have ever heard & I have heard quite a few. Musical Perfection all round driven by the thrilling Tempo of the magnificent Orchestra & Conductor. You have it all Amanda, Voice, Verve & Vivacity ! A Thrilling Perfomance. Grazie Mille ! 🤗💐
omg!! Is Amanda Forsythe good or is she good?!
I think "good" is an insult to this professional artist. I won't swear as this a artistic channel but will say she is VERY GOOD 😄
Húuu...Nagyon nagy! BRAVISSIMO!!!
Brava! What was that highest note?
High D
Almira, the first Handel's opera, composed when he was only 19 years old. Genius
Genius? Eine Untertreibung.
Thank you so much for the upload. Just one tiny little suggestion: Could you correct the title? Instead of "straffen" (=tighten) she sings "strafen" (=punish). Instead of Gemüht it is (at least in this libretto) Gemüth ;)
Thanks for the message. I will bring this to our editor's attention. Our transcription of the libretto does include "straffen" and "Gemüht", but obviously it is possible an error was overlooked at the time.
Unfortunately nothing has changed. It looks as wrong as before... - and it looks a bit unprofessional for German eyes.
I’m sorry!
Perhaps like my English ...
The orthography is correct. "Straffen" is the old spelling of the modern "strafen" (engl. punish) and "Gemüht" is the old spelling of "Gemüt" (engl. mind). Both words are written this way in the original libretto (1704, page D3). Chrysander modernized the spelling in his edition (1873, pages 69-74) as follows: "Der Himmel wird strafen dein falsches Gemüth" with "Gemüth" as a spelling used in the nineteenth century.
@@stefanfuchs7942 Thanks for the explanation.
@@stefanfuchs7942 very good explanation for me as a native German speaker
Superbe ! Brava
Those eyes.
Any blue ray or dvd?
Unfortunately no. While we would love to produce a commercial video release, the production costs would be many magnitudes higher than the cost of these archival videos. It certainly remains on our wish list if we can find appropriate funding partners, but we are grateful that we can release studio recordings of so many of our opera projects.
P.S. VaVaVoom ! 🤗💐🌋
Der Himmel wird straffen dein falsches Gemüht.
Die Rache wird lohnen verborgene Tücke,
Verstören, verkehren,
Versehren, verheeren
Dein zeitliches Glücke,
Daß Ruh’ und Vergnügung sich deiner entzieht.
Der Himmel wird straffen dein falsches Gemüht.
Heaven will punish your false heart.
Revenge will reward your secret deceit,
Will destroy, twist,
Damage, and devastate
Your temporary luck,
That peace and pleasure will be taken from you.
Heaven will punish your false heart.
Thanks Mr. Borges for the lyrics of this beautiful aria & its translations.
CBAM
Ruff day.
The singing is spectacular. What’s with the unnecessary dancing? This is the Seconda Donna’s exit aria to close Act 2. Amanda is such a spectacular singer, the production places this distraction and upstages what should be her solo onstage turn.
totally disagree, that's a baroque opera, not a cantata; and her vocal mastery turns everything else in mere complement.