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Handel / Orlando

George Frideric Handel , William Christie , Les Arts Florissants , Patricia Bardon , Rosemary Joshua , Hilary Summers , Rosa Mannion , Harry van der Kamp , Hiro Kurosaki , Hugo Reyne Audio CD
4.7 out of 5 stars  See all reviews (7 customer reviews)


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Product Details

  • Performer: Patricia Bardon, Rosemary Joshua, Hilary Summers, Rosa Mannion, Harry van der Kamp, et al.
  • Orchestra: Les Arts Florissants
  • Conductor: William Christie
  • Composer: George Frideric Handel
  • Audio CD (October 1, 1996)
  • SPARS Code: DDD
  • Number of Discs: 3
  • Label: Alliance
  • ASIN: B000005E4L
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (7 customer reviews)

Disc: 1
1. Orlando, opera, HWV 31: Ouvertura. Lentement
2. Orlando, opera, HWV 31: Ouvertura. Allegro
3. Orlando, opera, HWV 31: Act 1. Scene 1. Gieroglifici eterni!
4. Orlando, opera, HWV 31: Act 1. Scene 2. Stimulato della gloria / Purgalo ormai
5. Orlando, opera, HWV 31: Act 1. Scene 2. Lascia amor
6. Orlando, opera, HWV 31: Act 1. Scene 3. Imagini funeste
See all 21 tracks on this disc
Disc: 2
1. Orlando, opera, HWV 31: Act 2. Scene 1. Quando spieghi i tuoi tormenti
2. Orlando, opera, HWV 31: Act 2. Scene 2. Perchè, gentil Dorinda
3. Orlando, opera, HWV 31: Act 2. Scene 2. Se mi rivolgo al proto
4. Orlando, opera, HWV 31: Act 2. Scene 3. E questa la mercede / Scene 4. A qual rischio
5. Orlando, opera, HWV 31: Act 2. Scene 4. Tra caligini profondi
6. Orlando, opera, HWV 31: Act 2. Scene 5. Da queste amiche piante
See all 14 tracks on this disc
Disc: 3
1. Orlando, opera, HWV 31: Act 3. Scene 1. Sinfonia / Di Dorinda alle mura
2. Orlando, opera, HWV 31: Act 3. Scene 1. Varrei poterti amar
3. Orlando, opera, HWV 31: Act 3. Scene 2. Più obligate gli sono / Scene 3. Pur ti trovo
4. Orlando, opera, HWV 31: Act 3. Scene 3. Unisca amor in noi
5. Orlando, opera, HWV 31: Act 3. Scene 3. Già lo stringo
6. Orlando, opera, HWV 31: Act 3. Scene 4. Di Dorinda all'albergo
See all 18 tracks on this disc

Editorial Reviews

Amazon.com

Orlando has one of those quintessentially goofy Baroque opera plots, but it is partially sustained, at least, by some of Handel's most beautiful arias. Mezzo-soprano Patricia Bardon as Orlando sings well enough in a technical sense, but is on the dull side dramatically. The rest of the cast is more interesting, particularly Harry van der Kamp as the magician Zoroastro, and the sweet-voiced Rosa Mannion as Dorinda. It's really William Christie's show, of course, and his conducting of his talented ensemble is one of the best things about this recording. --Sarah Bryan Miller

Customer Reviews

4.7 out of 5 stars
(7)
4.7 out of 5 stars
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Most Helpful Customer Reviews
13 of 15 people found the following review helpful
5.0 out of 5 stars What a pleasant music! October 26, 1999
By A Customer
Format:Audio CD
These are CDs good to appreciate the perfection of the classic italian opera and to love it. Chritie is one of the greter conductors of this kind of operas, that he seems to feel so much. Wanderful the singers, expecially the three women. Listen please to the terzetto "CONSOLATI, O BELLA" for 2 Mezzo and 1 Soprano and, after, thanks God to have crerated Haendel! This recording is absolutely a masterpiec.
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30 of 38 people found the following review helpful
5.0 out of 5 stars A grand Masterpiece from Handel's "Mad Opera Cycle" June 22, 2000
By A Customer
Format:Audio CD
This opera is probably one of the greatest operas in the history of opera. The reviewer from italy is right, after listening to the trio "Consolati o Bella" it made me thank god for creating "Il caro Sassonne", and I think, that in some cases, Handel is even better than Mozart (Please forgive me Mozart fans, for I am one to). The music is beautiful I must try to convince Amazon.com to let listeners hear the sleep Aria "Gia l'ebro" it is one of the most beautiful arias in Opera history, it has two rare instruments, the "Violette Marine", which laments in the whole aria, and has the Basso continuo at pizzacatto, and the outcome is beautiful. The trio is absolutely Beautiful, though simple, and the mad scene in Act II is grand. Mr. Christie Interprets this aria/accomp. recititive, very well, the mad scene is splendid, the isanity of Handel has finally been leashed in this opera and two other "Mad" operas (Alcina, and Ariodante). You see the reason why I called the three operas, "Ariodante", "Orlando", and "Alcina" "mad operas", is because, the plots are about main characters that go mad and are betrayed in love and in return to these grand librettos, Handel incorporated great,crazy, flying-like music to describe Handel's insanity and frustration at a time when these operas were written, Handel had a horrible financial problem. Buy this recording, it's expensive cd, but it's worth it, and you will not be dissapointed!
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15 of 18 people found the following review helpful
5.0 out of 5 stars A real magic December 22, 2000
Format:Audio CD
This is one of the best issues from Erato in 90th. There are no stars in this recording, but, my God, what amazing singing! The feeling of Handel'music by singers is perfect, ane everyone is ideally suited to the character. The silky sweet soprano of Rosemary Joshua (Angelica) is well contrasted by voice of Rosa Mannion (Dorinda), who brings agility and charm to the opera. Hilary Summers is a true Medoro. And of course, mad Orlando, sung by sweet-toned Patricia Bardon, is a delight. Handel would be very glad for such a cast. Well done, Christie!
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5 of 5 people found the following review helpful
5.0 out of 5 stars LOVE IS ONE BIG IMBROGLIO May 14, 2007
Format:Audio CD
It says that in Act III scene 5. In case the statement needs substantiation, the plot is as follows. Orlando is warned off love and advised to follow warlike pursuits by the wizard Zoroaster. His first entrance shows him pursuing a princess named Isabella, but to rescue her from something, not for amorous reasons, and she never sings a note from beginning to end. Meantime a Chinese queen called Angelica is shown in love with an African prince named Medoro, but Orlando seems to feel that he has some prior claim on Angelica. A bigger role than either that of Medoro or of Angelica is taken by a shepherdess Dorinda, the very type of the Deserted Shepherdess having been spurned by both Medoro and Orlando, apparently. Orlando is for some reason driven mad by finding out about Angelica and Medoro, and either visits or thinks he visits the infernal regions of Greek legend, returning in a state of continuing mental confusion in which he mistakes both Angelica and Dorinda for other women previously unmentioned. He tries to destroy both Medoro and Angelica, but they turn out to have been saved by the wizardry of Zoroaster, and everyone ends reconciled to situation that led to all the fuss in the first place. No wonder Gluck felt that opera was in need of reform.

Nonsensical though it may be, this kind of stagy drama with its story-book characters and its over-the-top situations has a kind of consistency and integrity of its own. It quite obviously lends itself to operatic treatment, this was the high watermark of the style, and the composer after all is Handel. A lot is lost from the lack of stage-effects (such as mountains being made to disappear at the wave of Zoroaster's wand), and listeners to it in sound alone need a clear idea of what style of interpretation they think most appropriate.
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