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  • Handel: Aminta e Fillide (Le cantate italiane di Handel -IV-)
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Handel: Aminta e Fillide (Le cantate italiane di Handel -IV-) Import


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Audio CD, Import, October 28, 2008
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1. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Sinfonia & Recitativo. Arresta il passo
2. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Aria. Fermati, non fuggir!
3. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Recitativo. Questa sol volta almen
4. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Aria. Fiamma bella ch'al ciel s'invia
5. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Recitativo. Credi a'miei detti, Aminta
6. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Aria. Forse ch'un giorno
7. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Recitativo. Invano, invan presumi
8. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Aria. Fu scherzo, fu gioco
9. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Recitativo. Libero piè funga dal laccio
10. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Aria. Se vago rio
11. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Recitativo. D'un incognito foco
12. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Aria. Sento ch'il Dio bambin
13. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Recitativo. Felicissimo punto, in cui nel se
14. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Aria. Al dispetto di sorte crudele
15. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Recitativo. Vincesti, Aminta, e l'amoroso af
16. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Aria. È un foco quel d'amore
17. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Recitativo. Gloria bella d'Aminta
18. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Aria. Chi ben ama non paventi
19. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Recitativo. E pur, Filli vezzosa
20. Aminta E Fillide (Arresta il Passo), cantata for 2 sopranos, strings & continuo, HWV 83: Aria. Non si può dar un cor
See all 30 tracks on this disc

Product Details

  • Performer: Maria Grazia Schiavo, Núria Rial
  • Orchestra: La Risonanza
  • Conductor: Fabio Bonizzoni
  • Composer: George Frideric Handel
  • Audio CD (October 28, 2008)
  • Number of Discs: 1
  • Format: Import
  • Label: Glossa
  • ASIN: B001HADEA0
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #144,057 in Music (See Top 100 in Music)

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8 of 10 people found the following review helpful By Giordano Bruno on November 16, 2008
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The 'Eternal City' was unlike any other in the world at the beginning of the 18th Century. A population of fewer than 20,000 people lived amid the overbearing ruins of the ancient Rome, with its 4,000,000 ghosts. Built into and sometimes from the marble of ancient Rome were the baroque palaces of the princes of the catholic Church, buildings of unrivaled opulence and extravagance, together with the conventual fortresses of the cloistered nuns and monks who made up at least half of the total populace. The highest rungs of the social pyramid were occupied by the aristocratic families that supplied the majority of the Cardinals and Papal Ministers who ruled both the splendor and the stagnation of Rome. These were the patrons for whom Scarlatti, Corelli, and others wrote their sacred oratorios and their secular cantatas.

Many of the most aesthetically sensitive aristocrats of wealth and of the Church were banded together in the great Arcadian Academy, essentially the overwrought apotheosis of the devotional confraternities organized in the Counter-reformation era by Philip Neri and other intellectual mystics. The Arcadian Academy assembled in the private parks and gardens of the city to discuss the nature of Love - the essential unity of Eros/Cupid with the Divine Bambino Jesus - and to 'appreciate' the commissioned music of the finest composers of the catholic world. One such composer, the young "Saxon" Georg Friedrich Händel, soon became a favorite. The two large-scale pastoral cantatas recorded here were commissioned by the Marquis Ruspoli, brother of a Cardinal, perhaps for the midsummer Christmas festivities of the Arcadian Academy.

There's little doubt that the ambience of the Arcadian Academic was homo-erotically charged.
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3 of 3 people found the following review helpful By Anna Shlimovich on May 21, 2010
I have listened to these series of CDs referring to Il caro Sassone (as Handel was called in Italy) time in Rome, and while listening to this one, I was stunned by one melody - it sounded as "Ogni vento" from Agrippina! But I knew it was not - and it made me read more and made marvelous discoveries, some of which I list here.

Handel enjoyed patronage of several important persons in Rome, the main patron being Marquis Ruspoli, for whom he had composed the cantata "Aminta e Fillide (Arresta il Passo)" - an "erotic chamber piece, slow and developing softly with great sweetness". Apart from traditional interpretations, one is quite interesting, that is a homo-erotic flirting on the part of Roman cardinals in order to obtain the favor of the young Handel. Also this piece can be interpreted as a "ludic diologue" between Marquis Ruspoli (alias Amintas - a shepherd) and the composer (alias Phyllis - nymph). In this cantata Handel got the closest to the aesthetics of the Arcadians, i.e. the group of scholars and poets that had founded the Accademia degli Arcadi in 1690.

Arcadians would gather in the most idyllic locations, such as Orti Farnesiani, the gardens of the Farnese on the Palatine, in the park of Palazzo Corsini, which belonged to Queen Christina of Sweden, and finally in the garden of the Marquis Francesco Maria Ruspoli in the via Merulana. Handel was at the center of Arcadian society a little after his arrival in Rome in 1706.

On 14 July 1708, Aminta e Fillide was first performed there. The Marquis Ruspoli was particularly pleased with the role of Fillide (Phyllis), which Handel wrote for the prima donna of the house, Margherita Durastanti, a mezzo-soprano.
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