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12 of 12 people found the following review helpful:
5.0 out of 5 stars
A wondrous feast of Handel, August 4, 2004
This review is from: Handel: Tamerlano (Audio CD)
This live recording from the late 1980s is one of the most atmospheric of Handel recordings, and probably one of the best that John Eliot Gardiner has made thus far. Handel's Tamerlano, one of the triumvirate of outstanding operas from the mid 1720s (alongside Giulio Cesare and Rodelinda), has been recorded three times since the late 70s, but this is probably the best. Malgoire's recording made a hash of the libretto and had an order that made little sense as to the performance Handel would have recognised. There are problems with the more recent recording of Trevor Pinnock for the same reasons and, although Gardiner's is not the definitive recording either, it comfortably out-does its rivals. The main plus point here is some wonderful singing from Derek Lee Ragin (Tamerlano) and Michael Chance (Andronico) in the two alto castrato roles. For Handel buffs, this cd set sees only the second recording, so far as I know, of the only duet Handel wrote for castrato 'Coronata di giglie e di rose'. Their wonderful interplay and ornamentation is spectacular. Nancy Argenta as Asteria comfortably outsings her rivals on disc, as does Jane Findlay as Irene. Where the recording is inferior to its rivals is in the choice of Nigel Robson as Bajazet. Whilst he is stylish, musical and convincing as the Turkish emperor, nevertheless the singing lacks depth of emotion and conviction. Thomas Randle for Pinnock is more convincing here, though he has been accused of 'barking' his way through the role. All of that said, if you want a first introduction to Handel opera, don't let the price or length of the opera put you off. Any serious Handelian will want this in their collection. Highly recommended. This item is still available in Europe.
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3 of 3 people found the following review helpful:
4.0 out of 5 stars
Three Hours of High Drama and Gorgeous Music, July 4, 2009
This review is from: Handel: Tamerlano (Audio CD)
George Frideric Handel (1685 - 1759): Tamerlano. Opera in three Acts. Performed by: Derek [Lee] Ragin (countertenor, Tamerlano); Nigel Robson (tenor, Bajazet); Nancy Argenta (soprano, Asteria); Michael Chance (countertenor, Andronico); Jane Findlay (mezzo-soprano, Irene); René Schirrer (baritone, Leone); English Baroque Soloists; dir. John Eliot Gardiner. Recorded live on 17th and 18th June, 1985 in the "Großer Sendesaal" (Large broadcasting hall) of the West German Radio Corporation in Cologne, Germany. First published on CD in 1986 by Erato Disques (a division of Warner Music); available at the time of writing as part of a budget-priced 6 CD box, but without libretto ( Handel: L'Allegro, il Penseroso ed il Moderato (Pastoral Ode); Tamerlano (Complete Opera); Ballet Music From Alcina, Terpischore & Il Pastor Fido / Gardiner (6CDs)). Total playing time of the opera: almost exactly three hours. This is yet another superb Handel recording by John Eliot Gardiner, made after performances of "Tamerlano" at the Lyon Opera in France and at the Göttingen Handel Festival in Germany, and thus making use of the practical experience gained through stagework. Other reviewers have described the background to the opera, so I shall only add that Gardiner's accompanying essay unravels some of the problems involved in modern performances of this amazing work. In particular, Handel himself seems to have been undecided as which pieces to include and which to delete, changing his mind about every time he revived the work. Gardiner appears to have been quite meticulous in trying out various versions before making his final decision on the basis of dramatic impact, but at the same time including a couple of pieces in the last scene, which, although beautiful in themselves, seem to impair the emotional thrust of the drama. As I am using the edition without a libretto, it was not possible for me to make a critical judgement about this, but I found listening to the whole opera a fascinating experience, justifying Gardiner's comments completely. Handel does appear, in the third act, to have got somewhat carried away with the dramatic flow of his opera, and the usual baroque scheme of recitative and aria is interrupted by some of the longest and most dramatic accompagnatos I have heard from Handel. Even without a libretto at hand, it is possible to share in the ins-and-outs of this tragic tale. The singers, all first class, are quite varied among themselves. Nigel Robson's Bajazet did not really "get to me", I'm afraid, until the suicide scene in Act 3, where, suddenly, Robson comes into his own with the aria "Empio, per farti guerra", one of Handel's superbly fast tour-de-force emotional outbreaks. The two countertenors, Derek Lee Ragin and Michael Chance, balance each other out very well. Ragin, as Tamerlano, does indeed use more vibrato and decoration than the early-music classical stylist Michael Chance, but his singing is really beyond compare: at this period, his voice was unsullied by the hoarseness which crept in later, and I would frankly say that Ragin at his best is one of those rare countertenors who can create the excitement that 18th century listeners must have felt when hearing castrati such as Senesino. Michael Chance's voice is, of course, also magnificent, and the concluding duet "Coronata di gigli e di rose" has Ragin and Chance practically imitating one another in one of the loveliest numbers I have ever heard. If you dislike countertenors generally (and they are, of course, rather unnerving and take some getting used to), you might like to give this one a try just to see if you change your mind. Soprano Nancy Argenta also has a beautiful voice, used with only a modicum of vibrato; my only doubts here were about whether she didn't sound a little too innocent for the role of Asteria, who, after all, attempts to commit murder twice during the opera. Jane Findlay, as Tamerlano's long-suffering fiancée, only has two arias, if I have counted correctly, although one of them is very long and full of emotion. Her mezzo timbre, delightful in itself, does on occasion make her sound a little "dragonish", but perhaps that is just my personal reaction to this type of voice. René Schirrer as Leone has only a minor role, limited to recitatives, although it is a nice touch that his baritone joins in the final "coro", the tenor Bajazet being unavailable as he has just committed suicide! The technical side of the three discs is well done without, perhaps, reaching the engineering heights attained by some of Gardiner's recordings for Philips. The voices are clearly captured, there is only very little extraneous noise, despite the fact that this is declared as a "live recording" (no audience?) - and the musicians of the English Baroque Soloists can also be very clearly heard.
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7 of 10 people found the following review helpful:
5.0 out of 5 stars
a voice teacher and early music fan, March 26, 2006
This review is from: Handel: Tamerlano (Audio CD)
A TWISTED TRAGEDY TO BE SURE; BUT SUNG SO WELL I WANTED MORE! George Frederic Handel, born a German, died an Englishman, became by a curious paradox of history to be one of the greatest composers of Italian opera. Having conquered London as early as 1711, with his 'Rinaldo', he went on to delight London audiences with more of the same. In 1724 he gained complete control of their affections by his two great masterpieces : 'Guilio Cesare'and 'Tamerlano'. First performed at the Royal Academy in the Haymarket on October 31,1724, 'Tamerlano' is exceptional in the line-up of Handel's works, in that he rejects some of the conventions which were part of the Italian opera tradition. For example, the libretto is based on a well documented historical event, rather than on ancient history or mythology. The arias are of less importance than the recitatives, which blend 'secco', accompaniment and fragments of highly charged, violently expressed arioso. This technique is very well illustrated in the long monologue where Bajazet dies in an almost demented outburst of curses and lamentations. Though the violence of Handel's discourse occasionally interrupts the flow of this perfectly balanced and refined music, there always comes a moment when melody claims its due. And this is really the clearest sign of Handel's genius: the ability to blend dramatic intensity with the pleasure of a voice raising itself above the artifices of the theatre. One of Handel's greatest - and darkest - operas, 'Tamerlano' tells of the captivity of the Ottoman emperor, Bajazet(Nigel Robson), at the hands of the Tartar ruler, Tamberlaine(Derek Ragin), and subsequent suicide. A clash of opera 'seria' titans, with no weak numbers and scarcely a moment of ligth relief. there are no compimario servants to make fun of their 'mentors' predicaments, the good guy namely Andronicus (Michael Chance) is somewhat apathetic, the damsel in distress namely Asteria (Nancy Argenta) tries to save herself alone during the whole opera and even tries to get rid of the tyrant Tamerlaine with her own hands (twice), not to mention almost everyone threatens suicide until someone (Bajazet) finally does it. All you lovers of the countertenor voice, track down this recording for it has 2 of the BEST countertenor voices you will ever hear anywhere. Chance was early in his career (1985) when this recording was made,and he sings this role with the expertise of a seasoned performer, and all with that uniquely 'golden' voice. Derek Ragin is a good contrast to Chance, because he sings with more vibrato and more ornamentation in his role. The other singers are equally accomplished; I especially liked Nigel Robson's performance as Bajazet; it was powerfully and skillfilly done. Nancy Argenta sings in her usual manner, which is quite good, for her ability to convey the role shines through. I have to say that I personally preferred the voice of Jane Findlay who was quite exciting in her role as Irene, Tamerlaine's betrothed (just a personal preference). This story has been done many times throughout the centuries; most recently by Fabio Biondi producing 'Bajazet' with another excellent countertenor playing the role of Bajazet: David Daniels. This opera Tamerlano is an incredible listening experience!!!!!
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