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Scarlatti - La Griselda / Mirella Freni · Nino Sanzogno


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Audio CD, August 7, 2001
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Product Details

  • Performer: Alessandro Scarlatti, Nino Sanzogno, Mirella Freni, Luigi Alva, Sesto Bruscantini, et al.
  • Audio CD (August 7, 2001)
  • Number of Discs: 2
  • Label: Opera D'oro
  • ASIN: B00005NNDQ
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #117,719 in Music (See Top 100 in Music)

Disc: 1
1. La Griselda, opera: Sinfonia
2. La Griselda, opera: Act 1: 'Questo, o popoli'
3. La Griselda, opera: Act 1: 'Or sei grande... Eccoti, o Sire'
4. La Griselda, opera: Act 1: 'In voler ciò che tu brami... Che arrechi, Ottone'
5. La Griselda, opera: Act 1: 'No, non sospira l'amor... Regina, pensa quanto ti costa'
6. La Griselda, opera: Act 1: 'Nell'aspro mio dolor... Troppo avvezza è Griselda'
7. La Griselda, opera: Act 1: 'Chi Regina mi disprezza'
8. La Griselda, opera: Act 1: Sinfonia for the landing
9. La Griselda, opera: Act 1: 'Come presto nel porto... Germani, qui per ora m'attende'
10. La Griselda, opera: Act 1: 'No, non eclissate... Ecco il porto'
See all 16 tracks on this disc
Disc: 2
1. La Griselda, opera: Act 2: 'Mi rivedi, o selva ombrosa... Griselda, anima mia'
2. La Griselda, opera: Act 2: 'Colomba innamorata... Bella infelice arresta il passo'
3. La Griselda, opera: Act 2: 'Agitata da fiera procella... Figlio, figlio, dove d'ascondo?'
4. La Griselda, opera: Act 2: 'Figlio! Tiranno!... Non giovano lusinghe'
5. La Griselda, opera: Act 2: 'Bellezze spietate'
6. La Griselda, opera: Act 2: 'Finirà, barbara sorte'
7. La Griselda, opera: Act 2: [Sinfonia] 'Fin che il re'
8. La Griselda, opera: Act 2: 'Pace, pupille vaghe... Sola, se ben tu parti'
9. La Griselda, opera: Act 2: 'Non sei quella... De' tuoi begli occhi'
10. La Griselda, opera: Act 2: 'Ti voglio sempre odiar'
See all 19 tracks on this disc

Editorial Reviews

Customer Reviews

4.6 out of 5 stars
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See all 7 customer reviews
This performance under Rene Jacobs is superb.
Music lover
The music is not as predictable as Handel's style, which adds to its charm and richness.
Eric Erwin
Consequently, they will not recognize their offspring as heir to the throne.
George Peabody

Most Helpful Customer Reviews

27 of 29 people found the following review helpful By Music lover on January 30, 2004
Format: Audio CD
Scarlatti's Griselda received one performance in Rome and then basically disappeared until now. The libretto had been used many times over, after the manner of the times, by the likes of Bononcini and Vivaldi. It is a not particularly attractive story concerning the cruel and deceptive treatment of the heroine by her royal husband in order to prove her nobility of spirit to his subjects. However, it enabled Scarlatti to fashion a suprisingly beautiful and varied work.
The music throughout is first-rate and revelatory. Themes start one way and then go off in directions that were not anticipated. The orchestration is rich and interesting. And there are an unusual, for baroque opera, number of ensembles; duets, a trio, and a quartet.
This performance under Rene Jacobs is superb. All the singers acquit themselves well and sing with style and sensitivity. Roschman and Fink are particularly fine, but there are really no weak links. Orchestra is clear, crisp, and virtuosic. Recorded sound, packaging, booklet, all truly excellent. One of the best things to come out this year.
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26 of 30 people found the following review helpful By Eeesh on April 13, 2004
Format: Audio CD
Alessandro Scarlatti was both the most celebrated vocal composer of his day, and one of the most prolific to ever live. In his lifetime (1660-1725) he composed nearly 700 cantatas and 66 operas. He was also far more famous then than his son Domenico, whose harpsichord sonatas today have all but completely eclipsed his father's works.
It is surprising to me that with all the recent interest in Baroque opera this recording has not become better-known. The entire cast (and Mirella Freni in particular) do a tremendous job, proving that La Griselda, Scarlatti's last and finest opera, really does deserve a place in the permanent repetoire. The entire work overflows with moments of breath-stopping beauty and resplendant melody (as in the aria da capo form that Scarlatti helped to popularize).
There are a few negatives, of course. Notably, the plot lacks a certain sense of dramatic motion (which is probably Scarlatti's biggest flaw in general), but this is typical of almost all Baroque operas. Also, the recording quality isn't too great. However, it does manage to capture the beauty and warmth of the singers, which is after all (in this opera at least) what's most important.
Really, at Opera d'Oro's low low price, I guarantee you will find this CD worth your money and time. Help bring this recording the attention it deserves.
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8 of 10 people found the following review helpful By Eric Erwin on November 24, 2006
Format: Audio CD Verified Purchase
Finding a complete recording of any of Scarlatti's operas would be treat to any lover of Baroque opera. However, to find one with such a skillful and talented cast of singers under the direction of the redoubtable Rene Jacob is a true treasure. This profound and delightful recording, made in 2000, recreates Alessandro Scarlatti's final opera and thus gives modern listeners insights into the culminative genius of this great composer of the Baroque period. Dorothea Röschmann and Lawrence Zazzo (a counter-tenor of tremendous musical sensitivity and talent) sing the music of the two main characters beautifully, and the supporting cast (Veronica Cangemi, Silvia Tro Santafé, Bernarda Fink, and a fine tenor Kobie van Rensburg) provide interpretations of great depth and vocal agility. Rene Jacobs and the Akademie für Alte Musik of Berlin are to be commended for the gorgeous interpretation of Scarlatti's score.This recording is well-edited: arias and recitatives are placed on their own tracks, allowing listeners to program their CD players with their favorite arias or skip the long recitatives if desired. Most of the arias are in the familiar Baroque da capo style, but require amazing vocal agility and sensitivity of emotion and rhythm on the part of the singers. The music is not as predictable as Handel's style, which adds to its charm and richness. Scarlatti's famous dislike of wind instruments is quite evident: nearly all of the characters' arias are accompanied by string instruments, giving them a subtle, plaintive, and melancholic tone. The recitatives are somewhat longer than a modern listener might be accustomed to, but nearly like arias in their emotional and melodic quality (Regula Rapp refers to them as "harmonically very complex").Read more ›
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5 of 7 people found the following review helpful By George Peabody VINE VOICE on October 30, 2006
Format: Audio CD
'NOBODY KNOWS THE TROUBLE'S SHE'S SEEN'(GRISELDA, THAT IS).

'Griselda' was first performed in Rome in 1721, the last of Alessandro Scarlatti's seventy or so operas. The cast consisted of five castrati and a tenor; on this recording the five castrati are replaced with two sopranos, two mezzo sopranos and a countertenor.

Apostolo Zeno fashioned the subject of Griselda into an opera libretto in 1701. Briefly, the plot is as follows: The King of Sicily (Gualtiero portrayed by Lawrence Zazzo-countertenor) marries Griselda (portrayed by Dorthea Roschmann-soprano)much to the chagrin of the people, because she is below his station. Consequently, they will not recognize their offspring as heir to the throne. Gualtiero goes back and forth between supporting his wife, then testing her by taking their one child away and leaving one with her. With his pretended acts of cruelty, he is no longer fighting for his own convenience as a husband, but (so to speak )battling alongside his unsuspecting wife for their recognition in society and the preservation of the couple's happiness. Another "test" is when he tells her that she must marry Ottone(a courtier portrayed by Silvia Tro Santafe) and she refuses,at which point he hopefully will have convinced his people that she is a worthy and virtuous woman. There are so many twists and turns in this plot that I leave it to you to listen to the opera and you will understand it all.

Jacob's cast is ideal! Dorothea Roschman's Griselda is always noble, belying this character's humble origins. Her voice is beautiful. Lawrence Zazzo (Gualitiero-countertenor), while on one hand seeming cynical and insensitive, in his 'asides' he must convince us of his inherent goodness, and he does!
Read more ›
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