PRIMA PARTE 0:00 Overture 5:24 n1. Aria di Bellezza "Fido specchio" 9:56 Recitativo "Io che sono Piacere" 10:22 n2. Aria di Piacere "Fosco genio e nero dolo" 13:21 Recitativo "Ed io che il Tempo" 13:43 n.3 Aria di Disinganno "Se la bellezza perde vaghezza" 17:58 Recitativo "Dunque si prenda l'armi" 18:16: n.4 Aria di Bellezza "Una schiera di piaceri" 21:46 n.5 Recitativo ed Aria di Tempo "Urne voi" 28:47 Recitativo "Sono troppo crudeli" 29:00 n.6 Duetto di Bellezza e Piacere "Il voler nel fior" 33:57 Recitativo "Della vita mortale" 34:30 n.7 Aria di Bellezza "Un pensiero nemico di pace" 38:34 Recitativo "Folle, tu nieghi il Tempo" 39:37 n.8 Aria di Tempo "Nasce l'uomo" 41:46 n.9 Aria di Disinganno "L'uomo sempre se stesso distrugge" 44:13 Recitativo "Questa è reggia mia" 45:43 n.10 Sonata e Recitativo "Taci! Qual sòno ascolto?" 48:39 n.11 Aria di Piacere "Un leggiadro giovinetto" 52:19 n.12 Recitativo ed Aria di Bellezza "Venga il Tempo" 55:19 n.13 Aria di Disinganno "Crede l'uom" 1:02:36 Recitativo "Tu credi che sia lungi" 1:03:38 n.14 Aria di Tempo "Folle, dunque tu sola presumi" 1:07:10 Recitativo "La reggia del Piacer vedesti" 1:07:30 n.15 Quartetto "Se non sei più ministro di pene" SECONDA PARTE 1:13:51 Recitativo "Se del falso Piacere" 1:14:54 n.16 Aria di Piacere "Chiudi, chiudi" 1:18:24 Recitativo di Tempo "In treparti divise" 1:19:13 n.17 Aria di Bellezza "Io sperai" 1:26:18 n.18 Recitativo ed Aria di Piacere "Tu giurasti di mai non lasciarmi" 1:30:25 Recitativo "Sguardo che infermo" 1:30:49 n.19 Aria e Recitativo di Bellezza e Disinganno "Io vorrei due cori" 1:34:30 Recitativo "Io giurerei" 1:35:11 n.20 Aria di Disinganno "Più non cura" 1:39:30 n.21 Recitativo ed Aria di Tempo "E ben folle quel nocchier" 1:42:12 Recitativo "Dicesti il vero" 1:42:32 n.22 Quartetto "Voglio tempo" 1:46:22 Recitativo "Presso la reggia" 1:47:51 n.23 Aria di Piacere "Lascia la spina" 1:53:20 Recitativo "Con troppo chiare note" 1:53:54 n.24 Aria di Bellezza "Voglio cangiar desio" 1:58:43 Recitativo "Or che tiene la destra" 1:59:01 n.25 Aria di Disinganno "Chi già fu del biondo crine" 2:01:05 n.26 Recitativo ed Aria di Bellezza "Ricco pino" 2:06:42 n.27 Accompagnato e n.28 Duetto di Disinganno e Tempo "Il bel pianto dell'aurora" 2:14:16 Recitativo "Piacer, che meco già vivesti" 2:14:50 n.29 Aria di Piacer "Come nembo che fugge col vento" 2:20:24 n.30 Accompagnato ed Aria di Bellezza "Tu del ciel ministro eletto"
Haendel would have written this masterpiece when he was 22 years of age after his formation in Italy and on the road to London opera and fame. It would be an error to think GFH music was less complex than J.S Bach. Haendel created complex but appealing melodies, using blends of instruments and the human voice. J.S Bach was interested in technique, Haendel in the listener. What a wonderful gift the Baroque period gave to music.
superb music 1707. great Hendl. Mozart, Haydn, Schubert, Beethoven ... considered him the greatest composer of all time. The divine aria. Great performance. Great voices.
28:47 ... fra gl'affanni ... ;; 45:44 Organ Concerto (interesting to see her handwork, and how much she does with only one hand!) ;; 1:42:12 The Quartet
Piacere: Un pensiero nemico di pace fece il Tempo volubil edace e con l’ali la falce gli diè. Nacque un altro leggiadro pensiero per negare sì rigido impero onde il Tempo più Tempo non è.
1:30 Bellezza Io vorrei due cori in seno: un per darlo al pentimento, al piacer l'altro darei. Disinganno Ma, dimmi, a qual piacere? Bellezza Al piacer che più sereno pone in vista il mio contento, di cui poi mi pentirei.
That is a Recitative. Disillusionment ask to Beauty why she closed her eyes in front of the mirror of Truth ( ' _Io giurerei che tu chiudesti i lumi nello specchio del vero_ ', ' _I could swear that you closed your lights_ - that means "eyes" - _in the mirror of Truth_ ' ) and Beauty answer she had fear to lose her fairness and her mundane pleasure ( ' _I lumi io chiusi perché timor mi prese di perder la bellezza e il mio piacere_ ' ) to which Disillusionment replies in turn to not have fear cause spiritual fulfillment and satisfaction is much better than earthly pleasure ( ' _Quanto l'alma è più bella della spoglia mortale, tanto a piacer terreno vero piacer prevale_ ', ' _The more beautiful the soul is than the mortal remains, the more true pleasure prevails over earthly pleasure_ ' ). The Aria that follows is "Più non cura valle oscura". You can find a versione made by Handel himself in english, once he moved in London. This work was so much appreciated in Italy (in Rome, at that time Handel was there for study and excercise his profession as musician and composer) that it could not do any less in England. Handel composed a second Oratoria changing a little something (Il Trionfo del Tempo e della Verità, HWV 46b still in Italian though) and then he composed a third (The Triumph of Time and Truth, HWV 46c in English this time) adding, if I'm not wrong, also a magnificent choral system. The corresponding Aria is sing by Counsel in the third version, no more Disillusionment. Same music structure. Counsel _On the valleys, dark and cheerless, From the mountain's summit, fearless, Soon you'll with contempt look down; And these darling pleasures slighting, In sublimer views delighting, Disbelieve that choice your own. On the valleys. . ._ da capo Handel is my favorite musician. The way he builds music, there is no one better. And I love the fact that he and his librettists were able to maintain and translate many things from Italian into another language such as English, acting as a bridge between Italy and England. So both Italians and English can listen to similar, if not exactly the same, concepts and music.
It's just wonderful that these oratorios are being performed and a very good performance it is! One pet peeve that I always feel compelled to mention though. It really looks amateurish for singers to do that "air drawing" they use in the practice room during a performance and it's common now. Please, that isn't saying I think they should look "rigid" but it's a question of distraction to a listener, especially when the gestures are contrary to the mood or text. The same ones that wave their arms about also have the inevitable container of water at their seat. That is just a bad HABIT. Singers should get used to not dragging bottles of water on stage and take swigs while their colleagues are singing! Very inconsiderate.
The sole spot on this wonder in the mezzosoprano Romina Basso with her ugly gestures and exagerate expressions deforming the voice, truly unendurable. The other singers are excelent.
La comprensione in italiano in certi punti risulta essere un po’ difficoltosa. Nel complesso esecuzione più che sufficiente buona la direzione molto attenta. Assolutamente non buona l’esecuzione delle due arie Pure del ciel le intelligenze eterne E Tu del ciel ministro eletto .
Dear Ladies and Gentlemen: I have now listened to the final hour of the recording. I have been able to listen carefully to the singing of the melismas by the ladies. It has been awful. They cannot sing the notes in the melismas. The notes are simply not there. They cannot articulate them or they are simply skipping them. And they are singing too fast. They are simply not able to sing as fast as the conductor wants them to. I feel very sick at my stomach when I hear Handel sung so poorly. Again, there is a good, a better and a best in music. That cannot be denied. And this was and is, awful. Sincerely yours, Caleb Boone.
Dear Mel Cadman: I disagree. I am a Classically-trained Handelian Tenor. I have sung Handel's oratorio arias in recital and in concert, as a soloist, many times. As a young boy, one of my voice teachers was a brilliant coloratura soprano who taught me excellent technique and tasteful musicianship. Above all, one's voice must be beautiful to listen to, which includes, in Handelian Baroque music, perfectly round, regular vibrato and impeccable command of each melismatic pitch so that every note can be clearly heard. Have a lovely. Sincerely yours, Caleb Boone.
Dear Michael Schade: I disagree. I am a Classically-trained Handelian Tenor. I have sung Handel's oratorio arias in recital and in concert, as a soloist, many times. As a young boy, one of my voice teachers was a brilliant coloratura soprano who taught me excellent technique and tasteful musicianship. Above all, one's voice must be beautiful to listen to, which includes, in Handelian Baroque music, perfectly round, regular vibrato and impeccable command of each melismatic pitch so that every note can be clearly heard. Have a lovely. Sincerely yours, Caleb Boone.
Dear Ladies and Gentlemen: The singing of Baroque melismas or "runs" of sixteenth-notes to be sung rapidly, as executed by the singers in this recording, is not very good at all. I have listened to well past the first hour-mark in this recording, and I am appalled. I was especially awestruck at the complete inability of the male singer, Tenor Andrew Staples, to sing melismas properly. A Handelian Tenor must be able to sing melismas perfectly and to correctly articulate all the notes in them with perfect pitch, so every note can be heard, clearly, and on-pitch. He can't do that. At all. Bless his heart. No wonder I have not been drawn to the recordings of this conductor and his ensembles. They are not very good. Just like a whole host of Eastern European Baroque recordings I have briefly listened to, of Johann Sebastian Bach's instrumental works. Yes, Russian recordings by instrumental ensembles during this great recrudescence of Baroque Music which we have been experiencing since about 1980. They are mostly just awful. I have also noted the hand-gestures and movements of the arms of the lady soloists in this video-recording. Those are extremely unmusical and quite awful. There is a good, better and a best in music, and there is no way to avoid that. The musicianship in this recording is mediocre. Some notes sound nice, but a few nice-sounding notes do not make a good Baroque performance. Baroque Music is extremely difficult. It cannot be slapped-down on the grill like a hamburger patty, and called "good." I was so glad to learn, in the early 1980s, that Handel was experiencing a resurgence in popularity. However, not this kind of popularity. Especially from Englishmen and English ladies, who should know better. Have a Dovely. Sincerely yours, Caleb Boone.
Clearly a Caleb Boone troll with so little going on in his life that long, poorly formatted comments [to get attention] is all he can spend his time on. Move along Caleb Boone. Just click to the next video. Your negativity is not needed....unless you're going to post your video of you doing a better job.
I laughed out loud when I read your slapped down like a hamburger patty comment. I definitely know what you mean, but I didn’t think it was THAT bad. It has great moments. The melismas are definitely “who cares” quality. But in my opinion the most abysmal performances of Handel of all time are by Spinosi. If you want to hear someone take the greatest composer and turn it into something as bad as humanly possible Spinosi is your guy. :)
At 91 years of age I was impressed by how appropriate the theme is for a person of my age. And the performance satisfied me enourmously. Yes, enormously! Are there other oldies who feel much the same?
@@jamesward6304 Yes, I agree entirely as an 'oldie' of 71 and as an experienced singer and avid listener to all, but particularly, baroque music. This commentator, Caleb Boone, is talking absolute, inaccurate and un-informed nonsense. The tenor is not Andrew Staples - is he incapable of looking at the credits - doh! - and the singing and playing is of an exceptionally high order. Paul McCreesh, rightly, is highly esteemed as an exceptionally able baroque interpreter and he always picks soloists of exceptional quality, as here. While Rebecca Bottone's tessitura may not be to everybody's taste her technique, brio and interpretative powers are remarkable. Renata Pokupic is, rightly, deemed to be an exceptionally fine mezzo-soprano, and here sings wonderfully. I'm not a great fan of the tenor but he acquits himself capably. Romina Basso is breathtakingly superb - as ever - with a voice and interpretative ability which would be nigh impossible to match. I think this performance is an astonishingly vivid and beautiful interpretation and can't imagine how stupid and irrelevant these bitchy comments are.
PRIMA PARTE
0:00 Overture
5:24 n1. Aria di Bellezza "Fido specchio"
9:56 Recitativo "Io che sono Piacere"
10:22 n2. Aria di Piacere "Fosco genio e nero dolo"
13:21 Recitativo "Ed io che il Tempo"
13:43 n.3 Aria di Disinganno "Se la bellezza perde vaghezza"
17:58 Recitativo "Dunque si prenda l'armi"
18:16: n.4 Aria di Bellezza "Una schiera di piaceri"
21:46 n.5 Recitativo ed Aria di Tempo "Urne voi"
28:47 Recitativo "Sono troppo crudeli"
29:00 n.6 Duetto di Bellezza e Piacere "Il voler nel fior"
33:57 Recitativo "Della vita mortale"
34:30 n.7 Aria di Bellezza "Un pensiero nemico di pace"
38:34 Recitativo "Folle, tu nieghi il Tempo"
39:37 n.8 Aria di Tempo "Nasce l'uomo"
41:46 n.9 Aria di Disinganno "L'uomo sempre se stesso distrugge"
44:13 Recitativo "Questa è reggia mia"
45:43 n.10 Sonata e Recitativo "Taci! Qual sòno ascolto?"
48:39 n.11 Aria di Piacere "Un leggiadro giovinetto"
52:19 n.12 Recitativo ed Aria di Bellezza "Venga il Tempo"
55:19 n.13 Aria di Disinganno "Crede l'uom"
1:02:36 Recitativo "Tu credi che sia lungi"
1:03:38 n.14 Aria di Tempo "Folle, dunque tu sola presumi"
1:07:10 Recitativo "La reggia del Piacer vedesti"
1:07:30 n.15 Quartetto "Se non sei più ministro di pene"
SECONDA PARTE
1:13:51 Recitativo "Se del falso Piacere"
1:14:54 n.16 Aria di Piacere "Chiudi, chiudi"
1:18:24 Recitativo di Tempo "In treparti divise"
1:19:13 n.17 Aria di Bellezza "Io sperai"
1:26:18 n.18 Recitativo ed Aria di Piacere "Tu giurasti di mai non lasciarmi"
1:30:25 Recitativo "Sguardo che infermo"
1:30:49 n.19 Aria e Recitativo di Bellezza e Disinganno "Io vorrei due cori"
1:34:30 Recitativo "Io giurerei"
1:35:11 n.20 Aria di Disinganno "Più non cura"
1:39:30 n.21 Recitativo ed Aria di Tempo "E ben folle quel nocchier"
1:42:12 Recitativo "Dicesti il vero"
1:42:32 n.22 Quartetto "Voglio tempo"
1:46:22 Recitativo "Presso la reggia"
1:47:51 n.23 Aria di Piacere "Lascia la spina"
1:53:20 Recitativo "Con troppo chiare note"
1:53:54 n.24 Aria di Bellezza "Voglio cangiar desio"
1:58:43 Recitativo "Or che tiene la destra"
1:59:01 n.25 Aria di Disinganno "Chi già fu del biondo crine"
2:01:05 n.26 Recitativo ed Aria di Bellezza "Ricco pino"
2:06:42 n.27 Accompagnato e n.28 Duetto di Disinganno e Tempo "Il bel pianto dell'aurora"
2:14:16 Recitativo "Piacer, che meco già vivesti"
2:14:50 n.29 Aria di Piacer "Come nembo che fugge col vento"
2:20:24 n.30 Accompagnato ed Aria di Bellezza "Tu del ciel ministro eletto"
Un bellissimo oratorio di Handel e una interpretazione veramente magnifica di tutta l'orchestra e dei cantori
Concordo appieno ❤
Very wonderful music. I love IT.
wonderful music and execution, I never get tired of it!
My opinion too. And how many years now have I heard it on this channel? Too many to remember. I'm now in my 93rd year.
Haendel would have written this masterpiece when he was 22 years of age after his formation in Italy and on the road to London opera and fame. It would be an error to think GFH music was less complex than J.S Bach. Haendel created complex but appealing melodies, using blends of instruments and the human voice. J.S Bach was interested in technique, Haendel in the listener. What a wonderful gift the Baroque period gave to music.
Exactly.
Un capolavoro
superb music 1707. great Hendl. Mozart, Haydn, Schubert, Beethoven ... considered him the greatest composer of all time. The divine aria. Great performance. Great voices.
I FREAKING love rebecca! All of them were awesome!
What a gem.Stellar performances all round and one of Handel's greatest oratorios. Thanks for post.
I protest! This is the best oratorio. If you do not agree, then indicate which oratorio is better, please? Let even another maestro.
a gem indeed
1:34:30
The absolute wonderful Romina Basso
Spero di poterlo cantare presto
a thousand thanks for this. :)
MERAVIGLIOSO, BRAVISSIMI!!!!!
La formazione italiana e l'alto magistero di Steffani. Splendida esecuzione.
Una vera e propria poesia: straordinaria esecuzione
Cudowne...
Applause, applause.
28:47 ... fra gl'affanni ... ;; 45:44 Organ Concerto (interesting to see her handwork, and how much she does with only one hand!) ;; 1:42:12 The Quartet
34:30 increíble.
Yes!!!
Fantastico
Piacere:
Un pensiero nemico di pace
fece il Tempo volubil edace
e con l’ali la falce gli diè.
Nacque un altro leggiadro pensiero
per negare sì rigido impero
onde il Tempo più Tempo non è.
Agradeço comovida por esta tão respeitável postagem. Obrigada!
El dueto de 29:00, maravilloso.
Magique !!!
1:30
Bellezza
Io vorrei due cori in seno:
un per darlo al pentimento,
al piacer l'altro darei.
Disinganno
Ma, dimmi, a qual piacere?
Bellezza
Al piacer che più sereno
pone in vista il mio contento,
di cui poi mi pentirei.
1:48:00 el solo mas hermoso
Beautiful, but what's all the hand waving?
The 4 soloists are characters. They are acting out their parts.
1:19
Bellezza
Io sperai trovar nel vero
il Piacer, né il veggio ancora.
Anzi il mio fato severo
si contrista alla sua vista
e si perde, o si scolora.
is the Pleasure partiture not written for a castrato, there is a part that features in the movie Farninelli.
Is this available on a CD?
1:13:45 Parte seconda
This is magnificent, what is the name of the part starting at 1:35:00?
‘Più non cura’
That is a Recitative. Disillusionment ask to Beauty why she closed her eyes in front of the mirror of Truth ( ' _Io giurerei che tu chiudesti i lumi nello specchio del vero_ ', ' _I could swear that you closed your lights_ - that means "eyes" - _in the mirror of Truth_ ' ) and Beauty answer she had fear to lose her fairness and her mundane pleasure ( ' _I lumi io chiusi perché timor mi prese di perder la bellezza e il mio piacere_ ' ) to which Disillusionment replies in turn to not have fear cause spiritual fulfillment and satisfaction is much better than earthly pleasure ( ' _Quanto l'alma è più bella della spoglia mortale, tanto a piacer terreno vero piacer prevale_ ', ' _The more beautiful the soul is than the mortal remains, the more true pleasure prevails over earthly pleasure_ ' ).
The Aria that follows is "Più non cura valle oscura". You can find a versione made by Handel himself in english, once he moved in London.
This work was so much appreciated in Italy (in Rome, at that time Handel was there for study and excercise his profession as musician and composer) that it could not do any less in England. Handel composed a second Oratoria changing a little something (Il Trionfo del Tempo e della Verità, HWV 46b still in Italian though) and then he composed a third (The Triumph of Time and Truth, HWV 46c in English this time) adding, if I'm not wrong, also a magnificent choral system.
The corresponding Aria is sing by Counsel in the third version, no more Disillusionment. Same music structure.
Counsel
_On the valleys, dark and cheerless,
From the mountain's summit, fearless,
Soon you'll with contempt look down;
And these darling pleasures slighting,
In sublimer views delighting,
Disbelieve that choice your own.
On the valleys. . ._ da capo
Handel is my favorite musician. The way he builds music, there is no one better. And I love the fact that he and his librettists were able to maintain and translate many things from Italian into another language such as English, acting as a bridge between Italy and England. So both Italians and English can listen to similar, if not exactly the same, concepts and music.
does anyone have a vocal score?
1:03:38
chord progression at 47' 35'' is a surprise
47:35
I've never seen a theorbo player hold the instrument the way the lady is holding hers here. Whatever works.
i wish i knew what they are saying
However, let us list a few arias - exstra bellissimo 34:30 1.47:51 1.59:01
Sorry, typing error 34:30 1:47:51 1:59:01
Yet 1:03:38
even more: 1:42:32
@@stefanstamenic3640 thank you, i was looking for this! I love the part where piacere sings but this version is different from that of Hellenberg...
..and 2:21:38
Catherine Paupelin
1:42:30, soberbio.
Who is singing what role?
Belezza: Rebeca Bottone, Tempo: Andrew Kennedy, Piacere: Renata Pokupic, Disinganno: Romina Baso
@@kiiik8801 Thank you so much. I was searching for the singers' names.
It's just wonderful that these oratorios are being performed and a very good performance it is! One pet peeve that I always feel compelled to mention though. It really looks amateurish for singers to do that "air drawing" they use in the practice room during a performance and it's common now. Please, that isn't saying I think they should look "rigid" but it's a question of distraction to a listener, especially when the gestures are contrary to the mood or text. The same ones that wave their arms about also have the inevitable container of water at their seat. That is just a bad HABIT. Singers should get used to not dragging bottles of water on stage and take swigs while their colleagues are singing! Very inconsiderate.
The sole spot on this wonder in the mezzosoprano Romina Basso with her ugly gestures and exagerate expressions deforming the voice, truly unendurable. The other singers are excelent.
La comprensione in italiano in certi punti risulta essere un po’ difficoltosa.
Nel complesso esecuzione più che sufficiente buona la direzione molto attenta.
Assolutamente non buona l’esecuzione delle due arie
Pure del ciel le intelligenze eterne
E
Tu del ciel ministro eletto .
Dear Ladies and Gentlemen:
I have now listened to the final hour of the recording.
I have been able to listen carefully to the singing of the melismas by the ladies.
It has been awful.
They cannot sing the notes in the melismas.
The notes are simply not there. They cannot articulate them or they are simply skipping them.
And they are singing too fast. They are simply not able to sing as fast as the conductor wants them to.
I feel very sick at my stomach when I hear Handel sung so poorly.
Again, there is a good, a better and a best in music.
That cannot be denied.
And this was and is, awful.
Sincerely yours,
Caleb Boone.
Please stop talking un-informed and nonsensical rubbish. You seem to claim knowledge and expertise you evidently don't have. Please desist.
Utter rubbish!
Dear Mel Cadman:
I disagree.
I am a Classically-trained Handelian Tenor.
I have sung Handel's oratorio arias in recital and in concert, as a soloist, many times.
As a young boy, one of my voice teachers was a brilliant coloratura soprano who taught me excellent technique and tasteful musicianship.
Above all, one's voice must be beautiful to listen to, which includes, in Handelian Baroque music, perfectly round, regular vibrato and impeccable command of each melismatic pitch so that every note can be clearly heard.
Have a lovely.
Sincerely yours,
Caleb Boone.
Dear Michael Schade:
I disagree.
I am a Classically-trained Handelian Tenor.
I have sung Handel's oratorio arias in recital and in concert, as a soloist, many times.
As a young boy, one of my voice teachers was a brilliant coloratura soprano who taught me excellent technique and tasteful musicianship.
Above all, one's voice must be beautiful to listen to, which includes, in Handelian Baroque music, perfectly round, regular vibrato and impeccable command of each melismatic pitch so that every note can be clearly heard.
Have a lovely.
Sincerely yours,
Caleb Boone.
Dear Ladies and Gentlemen:
The singing of Baroque melismas or "runs" of sixteenth-notes to be sung rapidly, as executed by the singers in this recording, is not very good at all.
I have listened to well past the first hour-mark in this recording, and I am appalled.
I was especially awestruck at the complete inability of the male singer, Tenor Andrew Staples, to sing melismas properly.
A Handelian Tenor must be able to sing melismas perfectly and to correctly articulate all the notes in them with perfect pitch, so every note can be heard, clearly, and on-pitch.
He can't do that. At all. Bless his heart.
No wonder I have not been drawn to the recordings of this conductor and his ensembles.
They are not very good.
Just like a whole host of Eastern European Baroque recordings I have briefly listened to, of Johann Sebastian Bach's instrumental works.
Yes, Russian recordings by instrumental ensembles during this great recrudescence of Baroque Music which we have been experiencing since about 1980.
They are mostly just awful.
I have also noted the hand-gestures and movements of the arms of the lady soloists in this video-recording.
Those are extremely unmusical and quite awful.
There is a good, better and a best in music, and there is no way to avoid that.
The musicianship in this recording is mediocre.
Some notes sound nice, but a few nice-sounding notes do not make a good Baroque performance.
Baroque Music is extremely difficult.
It cannot be slapped-down on the grill like a hamburger patty, and called "good."
I was so glad to learn, in the early 1980s, that Handel was experiencing a resurgence in popularity.
However, not this kind of popularity. Especially from Englishmen and English ladies, who should know better.
Have a Dovely.
Sincerely yours,
Caleb Boone.
Clearly a Caleb Boone troll with so little going on in his life that long, poorly formatted comments [to get attention] is all he can spend his time on. Move along Caleb Boone. Just click to the next video. Your negativity is not needed....unless you're going to post your video of you doing a better job.
I laughed out loud when I read your slapped down like a hamburger patty comment. I definitely know what you mean, but I didn’t think it was THAT bad. It has great moments. The melismas are definitely “who cares” quality. But in my opinion the most abysmal performances of Handel of all time are by Spinosi. If you want to hear someone take the greatest composer and turn it into something as bad as humanly possible Spinosi is your guy. :)
At 91 years of age I was impressed by how appropriate the theme is for a person of my age. And the performance satisfied me enourmously. Yes, enormously! Are there other oldies who feel much the same?
@@destinationdarren To everyone: Above all, they are to be sung in tempo, right?
@@jamesward6304 Yes, I agree entirely as an 'oldie' of 71 and as an experienced singer and avid listener to all, but particularly, baroque music. This commentator, Caleb Boone, is talking absolute, inaccurate and un-informed nonsense. The tenor is not Andrew Staples - is he incapable of looking at the credits - doh! - and the singing and playing is of an exceptionally high order. Paul McCreesh, rightly, is highly esteemed as an exceptionally able baroque interpreter and he always picks soloists of exceptional quality, as here. While Rebecca Bottone's tessitura may not be to everybody's taste her technique, brio and interpretative powers are remarkable. Renata Pokupic is, rightly, deemed to be an exceptionally fine mezzo-soprano, and here sings wonderfully. I'm not a great fan of the tenor but he acquits himself capably. Romina Basso is breathtakingly superb - as ever - with a voice and interpretative ability which would be nigh impossible to match. I think this performance is an astonishingly vivid and beautiful interpretation and can't imagine how stupid and irrelevant these bitchy comments are.
Deeply irritating singers.
Is this available on a CD?