For those commenting ont he discrepancy between the written and sounding keys- Handel heavily edited the score of Rinaldo in the 1730's at which point he transposed this aria down 1 tone into d minor. In this video, the performance is of the d minor version (played at a=415) yet the score is that of the earlier e minor version.
My favorite rendition of this aria...the harpsichord ends it all so beautifully and Andreas Scholl almost always knocks me out...Baroque Blues at its best and my compliments to Civileso for the taste level.
Magnificent masterpiece! Played by amazing artist as Andreas Scholl Maestro and Academia Bizantina with theirs antique instruments sound and performance too!
The character Rinaldo's lover has just been kidnapped by the evil sorceress and he is singing in both confusion and despair, wondering where she is and heartbroken about the idea of never seeing her again... and then of anger at the sorceress! One of the most exciting and heartwrenching arias ever. Hope that helps :)
@counterman69 This sung key (d minor at A=415) is the correct key for the 1731 revival for the castrato Senesino (from which this recording comes -- Arias for Senesino). The version that is in the video is the 1711 version written for the (mezzo) soprano castrato Nicolino.
@counterman69 This is because there is a second version which is a tone lower that the score we see. But it is an official Handelian version written for a later performance with a different castrato singing Rinaldo. And then in 415 you get a transposituion that sounds a minor third lower than what you see here.
Well - I'm actually a clear follower of the "theory/idea/thought" that different keys have different characters. And C# minor is a very melancholic/bitter minor - interpretationally fitting for this aria I think:)
I need to know what cd has this EXACT rendition. Does anyone out there know??? I have it on the Senesino cd, but this rendition knocks me out. I love how the harpsichord gets the last word. It's Baroque Blues at its best!!! And no one does it like Andreas Scholl.
@luxdeo I belive you are right! I think this is french baroque-tuning and the original key is d-minor. Händel rewrote this aria to times. First for a italian soprano castrato and then for Senesino and his darker alto-voice. What the score says is wrong.
for a different take on baroque opera, try igorrr, tout petit moineau, or evanescence, lacrymosa (music taste changes gradually, and these gently bridge the gap between metal and baroque opera. maybe youll like it :) i never heard baroque before those two songs because im typically a metalhead.)
@aravis123 I wrote that badly. What I meant was there was no set pitch then so "A" would be different in each town. For example, it has been said that as one went further north in Italy- and subsequently further away from the Pope- the pitch of "A" got sharper. But interesting that Handel had perfect pitch; I didn't know that!
yep it is but in baroque music its normal, a lot of music was composed for determinated instrument or voices , for example , i wanna sing this sing and i am baritone so the orchestra transpose and adapt to me cause i will be confortoble with the tone :D
Can someone explain, why in the notes one sees "si" and the singer is singing "la" flat? I like Andreas Scholl's interpretation and wonderfuls singing. Just noticed, that most singers sing either "si" flat or "la" flat instead of traditional "si" (for mezzo-soprano) in this aria.
He is a great singer for sure, but in this particular performance what I like most is the orchestra. No wonder, I have a look who plays - an it is a wonderful Academia Bizantina. As far a the aria itself for this, my preference is by Daniel Taylor.
It's more like a G natural. In modern times we push the A higher in order to gain power and project. But we lose fluidity and gain harshness for our efforts.
Andreas tornou a ária pesada, sem a leveza que Daniels ou Jaroussky imprimiram. A orquestração também não cooperou, pontuando excessivamente a linha vocal
I also noticed the staccato. The first time I heard this aria was the version from the movie "Farinelli il castrato", by Jarousski, and you are right, the legatto makes it sound lighter, more ethereal and romantic. This version is not half bad, but now that you talked about that, we can't hear the feeling of romance in this the same way in Jarousski (not sure if I spelled the name right) I'm not any expert, this is my humble opinion :)
@@anaislekapene752 Jaroussky never sang in Farinelli's film, you "expert" with donkey ears. This aria was performed by Derek Lee Regan in the film. As for Jaroussky, he is the most soulless and stupid countertenor of our time. Everything he sings sounds the same and is generally a piece of soulless crap. He will not achieve the emotionality of Andreas Scholl’s performance even after 10 rebirths.
I do not believe he is ill here. I believe that this piece is rather low, even for him to take without adequately using the modal register. This piece is sitting a minor third below what is written in the manuscript in the video. That's just low for most any mezzo-ish countertenor.
а это для кого For those commenting ont he discrepancy between the written and sounding keys- Handel heavily edited the score of Rinaldo in the 1730's at which point he transposed this aria down 1 tone into d minor. In this video, the performance is of the d minor version (played at a=415) yet the score is that of the earlier e minor version.
ich liebe mehr andreas scholl. jaroussky singt zu hoch für meinen geschmack.man hört nicht mehr, dass er mann istl. das ist bei scholl anders. er ist einfach unübertroffen.........
Jaroussky is the most soulless and stupid countertenor of our time. Everything he sings sounds the same. and is generally a piece of soulless crap. He will not achieve the emotionality of Andreas Scholl’s performance even after 10 rebirths.
Благодарю за доставленное удовольствие!
Scholl, the best
For those commenting ont he discrepancy between the written and sounding keys-
Handel heavily edited the score of Rinaldo in the 1730's at which point he transposed this aria down 1 tone into d minor. In this video, the performance is of the d minor version (played at a=415) yet the score is that of the earlier e minor version.
My favorite rendition of this aria...the harpsichord ends it all so beautifully and Andreas Scholl almost always knocks me out...Baroque Blues at its best and my compliments to Civileso for the taste level.
Wonderful A. Scholl, wonderful G.F. Haendel.
Magnificent masterpiece! Played by amazing artist as Andreas Scholl Maestro and Academia Bizantina with theirs antique instruments sound and performance too!
Merci pour ce partage… Bravo Monsieur Scholl !!!
Splendido, commovente.
i am enjoying sing along ! very, very happy.
Me too!..
The character Rinaldo's lover has just been kidnapped by the evil sorceress and he is singing in both confusion and despair, wondering where she is and heartbroken about the idea of never seeing her again... and then of anger at the sorceress! One of the most exciting and heartwrenching arias ever. Hope that helps :)
Yeah, Armida was a scheming sorceress.
Poor Rinaldo and Almirena
wonderful and exciting.
Un air splendide !
@counterman69 This sung key (d minor at A=415) is the correct key for the 1731 revival for the castrato Senesino (from which this recording comes -- Arias for Senesino). The version that is in the video is the 1711 version written for the (mezzo) soprano castrato Nicolino.
Amazing voice, really beautiful ! It really fits aria as well.
Exquisite!!
Thank God there is still some good taste in music!
Quelle voix superbe
Andreas Scholl is the King!
As I said in the video description, this one is a live performance from Festival de Musique de Dresde, 12 May, 2008. It was broadcast on radio.
Le maître absolu de la respiration avec un timbre unique. Sublime.
my name is Rinaldo as is my father and his father before him and my son who was just born tusday is Rinaldo the IV long live Rinaldo
My name is Armida as my mother and my grandmother. It's a nice coincidence
Almirena is also a lovely name...
The men in your family were named after a Crusader Knight, how badass 😃
SUBLIME
I love it! Such a beautiful voice! ❤️❤️❤️❤️❤️
I added the quick synopsis on the video description. Thanks for reminding :)
@counterman69 This is because there is a second version which is a tone lower that the score we see. But it is an official Handelian version written for a later performance with a different castrato singing Rinaldo. And then in 415 you get a transposituion that sounds a minor third lower than what you see here.
vintage da capo, love it!!
Well - I'm actually a clear follower of the "theory/idea/thought" that different keys have different characters. And C# minor is a very melancholic/bitter minor - interpretationally fitting for this aria I think:)
👏👏👏👏
I need to know what cd has this EXACT rendition. Does anyone out there know??? I have it on the Senesino cd, but this rendition knocks me out. I love how the harpsichord gets the last word. It's Baroque Blues at its best!!! And no one does it like Andreas Scholl.
@luxdeo I belive you are right! I think this is french baroque-tuning and the original key is d-minor. Händel rewrote this aria to times. First for a italian soprano castrato and then for Senesino and his darker alto-voice. What the score says is wrong.
for a different take on baroque opera, try
igorrr, tout petit moineau,
or evanescence, lacrymosa
(music taste changes gradually, and these gently bridge the gap between metal and baroque opera. maybe youll like it :) i never heard baroque before those two songs because im typically a metalhead.)
@aravis123 I wrote that badly. What I meant was there was no set pitch then so "A" would be different in each town. For example, it has been said that as one went further north in Italy- and subsequently further away from the Pope- the pitch of "A" got sharper.
But interesting that Handel had perfect pitch; I didn't know that!
yep it is but in baroque music its normal, a lot of music was composed for determinated instrument or voices , for example , i wanna sing this sing and i am baritone so the orchestra transpose and adapt to me cause i will be confortoble with the tone :D
Can someone explain, why in the notes one sees "si" and the singer is singing "la" flat?
I like Andreas Scholl's interpretation and wonderfuls singing. Just noticed, that most singers sing either "si" flat or "la" flat instead of traditional "si" (for mezzo-soprano) in this aria.
This voice is like the Cupids arrow.
Apparently, this was one of Handel's favorite arias.
He is a great singer for sure, but in this particular performance what I like most is the orchestra. No wonder, I have a look who plays - an it is a wonderful Academia Bizantina. As far a the aria itself for this, my preference is by Daniel Taylor.
I prefer Carolyn Watkinson, A sadly underestimated singer.
Hehe, you are not reading! She is taken captive by the sorceress. Don't worry she is not dead, Rinaldo shall prevail :))
yes. and Armida will accept christianity :)
@counterman69 there's no such thing as a 'normal' 'early music' pitch... it was all relative...
how come i listen to it as a C sharp??@_@
@Fifixo ahahaha thanks for replying without being "mad"
HAHAHA couldn't say any better.
Agreed.
i'm sorry to ask this but what happened to andreas' low notes ? was he ill ? is there something else ?
@lordvampyr555 The last castrato in history died around 1910. He si not castrato.
You are totally right Eric! Also this aria is not written for castrati which means a different range and voice structure. :-)
@aravis123 You're welcome :)
It's true he starts with a G# instead of B
Come sempre Scholl ha una voce magnifica, ma avrei preferito se c'avesse messo un po' più di "patetismo"
This is in a different key surely?
Not just Baroque tuning?
The only one I can sing...
Dove è andata la sposa? Che vuol dire " a pianti miei?"
to my cries
pianti como en "piangere"
la sposa lei ha rapisco la strega Armida
@Fifixo oh nooo... handel had perfect pitch
Can a normal tenor sing that rep?? Well, i'm singing it in recitals, any comments??
efortlight and 8 years later, someone finally replies....
Hahaha did you do well?
@counterman69 again, baroque pitch :)
May attention To The vocal e (è)
Scheaner Stimmenwexl, ...gratuliere
I mean 3:52 is "normal" for him but 2:58 is definitely unusual :/
It's more like a G natural. In modern times we push the A higher in order to gain power and project. But we lose fluidity and gain harshness for our efforts.
The key is different in the sheet music. Audio sounds like it's been transposed down at least a whole tone.
of course, it is at Baroque pitch!
Oh, yeah. Duh...
@Emerson4Vet Never mind..... I should learn to read the information XD
Does anyone know if David Daniels has recorded this? He, too, is amazing.
Andreas tornou a ária pesada, sem a leveza que Daniels ou Jaroussky imprimiram. A orquestração também não cooperou, pontuando excessivamente a linha vocal
The harpsichord sounds rude with soft voice
Question: Is this a man or a woman singing???? I honestly can't tell half the time!
its a man
No. This isn't working for me: too staccato, no feeling, not romantic, this cara sposa.
WBFbySteefen possibly being German doesn't help?
I also noticed the staccato. The first time I heard this aria was the version from the movie "Farinelli il castrato", by Jarousski, and you are right, the legatto makes it sound lighter, more ethereal and romantic.
This version is not half bad, but now that you talked about that, we can't hear the feeling of romance in this the same way in Jarousski (not sure if I spelled the name right)
I'm not any expert, this is my humble opinion :)
@@anaislekapene752 Jaroussky never sang in Farinelli's film, you "expert" with donkey ears. This aria was performed by Derek Lee Regan in the film. As for Jaroussky, he is the most soulless and stupid countertenor of our time. Everything he sings sounds the same and is generally a piece of soulless crap. He will not achieve the emotionality of Andreas Scholl’s performance even after 10 rebirths.
I do not believe he is ill here. I believe that this piece is rather low, even for him to take without adequately using the modal register. This piece is sitting a minor third below what is written in the manuscript in the video. That's just low for most any mezzo-ish countertenor.
@elias12186 Who cares? Just enjoy the music. These baroque operas are just nonsense anyway, but beautiful and delightful nonsense!
Hm this music is not in the right key as Andreas Scholl...
Такое ощущение,что вокалист постоянно опаздывает,
а музыканты его догоняют...
а это для кого For those commenting ont he discrepancy between the written and sounding keys-
Handel heavily edited the score of Rinaldo in the 1730's at which point he transposed this aria down 1 tone into d minor. In this video, the performance is of the d minor version (played at a=415) yet the score is that of the earlier e minor version.
Prefiero a Jaroussky
ich liebe mehr andreas scholl. jaroussky singt zu hoch für meinen geschmack.man hört nicht mehr, dass er mann istl.
das ist bei scholl anders. er ist einfach unübertroffen.........
Da kann ich nur zustimmen.
Jaroussky is the most soulless and stupid countertenor of our time. Everything he sings sounds the same. and is generally a piece of soulless crap. He will not achieve the emotionality of Andreas Scholl’s performance even after 10 rebirths.