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Volledige opera's - Verschenen op 2 november 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 5 étoiles de Classica
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Operafragmenten - Verschenen op 6 juni 2014 | audite Musikproduktion

Booklet Onderscheidingen Diapason d'or - 5 de Diapason
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Volledige opera's - Verschenen op 1 september 2017 | Glossa

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica
No opera from Handel is as enigmatic as Silla. This fourth London opera was composed in 1713; and that’s as far as our knowledge goes! The written music scores are incomplete and we have no information about any contemporary performance. The first Handel experts tried to find an explanation and agreed upon the theory that Silla was written for a private show in the household of the Count of Burlington, who was at the time the composer’s patron. Then, in 1969, the discovery of a glossary from June 1713 established a possible date of the first performance. The inclusion of an extravagant work dedicated to the Duke d’Aumont, a recently appointed French ambassador, suggests the possibility of a show organized by or for the Duke. That could explain not only the absence of an English translation in the glossary, which is unique about Handel’s London operas, but also the relative brevity of the work.However, some problems remain unresolved. D’Aumont was a leading figure in the London life, and it seems rather unlikely that such an initiative would be ignored by the London press or forgotten by D’Aumont in his own writings. Was Silla played in 1713? As of yet, we can’t say for sure. There are further questions regarding the opera itself, in particular the choice of subject. This is indeed one of the rare historical operas from Handel concerned with Lucius Cornelius Silla’s end of life related by Plutarch; having seized Rome, this consul-come-tyran had his adversaries killed before retiring in a way as sudden as it was incredible in his country house to focus on his hobbies. It’s hard to imagine that this thread could fit an opera probably thought as a commemorative piece of an event of some sort: experts have been struggling to find answers and some have tried to discover an allegorical context. Apart from the theme, the quality and the meaning of the book have also been vehemently criticized. It’s significantly based on Italian cantatas from the composer’s youth and it’s interesting to notice that, as far as the style is concerned, the music goes back to a certain extent to his previous historical opera, Agrippina.Although the absurdities from its book make it an unlikely candidate to find a place in the great operatic repertoire, Silla contains enough musical beauties. Let’s also remember that Handel was holding his work in enough regard to recycle a considerable part of it into his next opera, Amadigi di Gaula. © SM/Qobuz
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Volledige opera's - Verschenen op 1 januari 1956 | Universal Music Australia Pty. Ltd.

Onderscheidingen 5 de Diapason
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Opera - Verschenen op 21 september 2018 | Accent

Booklet
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Opera - Verschenen op 21 juni 2005 | Warner Classics International

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Opera - Verschenen op 1 september 2017 | PentaTone

Hi-Res Booklet
Andrea Marcon and La Cetra Barockorchester & Vokalensemble Basel sparkle in this new release of Handel’s forgotten masterpiece Parnasso in festa, recorded shortly before their hugely successful Netherlands premiere of the opera in November 2016. Handel wrote this sumptuous work in 1734 to celebrate the marriage in London of Princess Anne and Prince William of Orange. Cast in the form of a serenata, Parnasso in festa recounts the joyful wedding feast of Thetis and Peleus at which the Muses are present. It’s packed with breathtaking arias, duets and choruses, all written with the verve, drama and sense of occasion to be expected from Handel. The soloists that he had on hand for the premiere were among the greatest Italian singers of the day – Giovanni Carestini, Margherita Durastanti, Anna Maria Strada del Po and Maria Caterina Negri. The care he lavished on the richly instrumented score is striking, from the masterly reworking of material from his oratorio Athalia to the ravishing original material, making this work unique among Handel’s output. Parnasso in festa proved to be very popular in its day it and was revived several times, yet after 1741 was largely forgotten. Now after years of neglect, this superbly crafted work has been recognised for the glorious entertainment that it is. © Pentatone
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Opera - Verschenen op 25 maart 2016 | Dynamic

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Operafragmenten - Verschenen op 30 oktober 2000 | Warner Classics International

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Opera - Verschenen op 1 januari 2013 | Farao Classics

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Opera - Verschenen op 24 maart 2003 | harmonia mundi

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Volledige opera's - Verschenen op 25 september 2015 | Accent

Booklet
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Opera - Verschenen op 1 januari 2013 | Farao Classics

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Opera - Verschenen op 1 januari 2004 | Dynamic

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Opera - Verschenen op 15 juli 2014 | Hungaroton

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Opera - Verschenen op 1 maart 2011 | Warner Classics International

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Opera - Verschenen op 27 oktober 2017 | Accent

Booklet
The king is dead! Berengario and Matilde are determined to seize power over Italy at all costs. To this end, they intend their son Idelberto to marry the newly widowed Adelaide. But the proud monarch has long since summoned Lotario, the noble German king, to her aid. The struggle for power begins… The Göttingen Handel Festival continues its close collaboration with the Accent label, which has already yielded great recordings of works like Siroé, Faramondo, Joshua, Susanna or Agrippina. The addition to the series of this May 2017 recording of Lotario is without doubt a very welcome one for all Handel lovers. © Accent
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Opera - Verschenen op 1 januari 2000 | CPO

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