Haendel: Il Trionfo del Tempo e del Disinganno

George Frederick Handel (Composer), Rinaldo Alessandrini (Conductor), Concerto Italiano (Orchestra), Deborah York (Performer), Gemma Bertagnolli (Performer), Nicholas Sears (Performer)

Product Details

• Performer: Deborah York, Gemma Bertagnolli, Nicholas Sears
• Orchestra: Concerto Italiano
• Conductor: Rinaldo Alessandrini
• Composer: George Frederick Handel
• Audio CD (August 28, 2007)
• SPARS Code: DDD
• Number of Discs: 1
• Label: Naive
• ASIN: B000LE0TEM
• In-Print Editions: MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (5 customer reviews)
• Amazon.com Sales Rank: #135,721 in Music (See Bestsellers in Music)

Track Listings

Disc: 1

1. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 1. Sonata (Allegro - Adagio - Allegro)

2. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 1. Aria. Fido specchio...

3. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 1. Recitativo

4. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 1. Aria. Fosco genio, e nero duolo mai non vien per esser solo...

5. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 1. Recitativo

6. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 1. Aria. Se la bellezza perde vaghezza...

7. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 1. Recitativo

8. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 1. Aria. Una schiaera di piaceri...

9. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 1. Recitativo

10. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 1. Aria. Urne voi, che racchiudete tante belle...

See all 27 tracks on this disc

Disc: 2

1. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 2. Recitativo

2. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 2. Aria. Chiudi, chiudi i vaghi rai...

3. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 2. Recitativo

4. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 2. Aria. Io sperai trovar nel vero...

5. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 2. Recitativo

6. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 2. Aria. Tu giurasti di mai non lasciarmi...

7. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 2. Recitativo

8. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 2. Aria. Io vorrei due cori in seno...

9. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 2. Recitativo

10. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Part 2. Aria. Più non cura valle oscura...

See all 26 tracks on this disc

Customer Reviews

Most Helpful Customer Reviews

11 of 11 people found the following review helpful:

5.0 out of 5 stars Handel's Italian Triumph, August 26, 2008

By	Giordano Bruno (Wherever I am, I am.) - See all my reviews (TOP 500 REVIEWER)

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Il Trionfo del Tempo e del Disinganno (The Triumph of Time and Disillusionment) was the first composition by the young Georg Friedrich Haendel (1685-1759) of such scope and magnificence that it must be considered one of his indispensable masterpieces. Written in Rome by the twenty-two year old Saxon, conducted in its premiere by Corelli, the work was never to be forgotten by its creator. Handel lengthened and modified portions of it in 1737 in London, under the title Il Trionfo del Tempo e della Verita, and reworked it with an English libretto as the final effort of his life, with the title The Triumph of Truth and Beauty. If you happen to have other recordings of any of the three versions, you might as well give them to your local library; after you hear this performance by `Concerto Italiano', it's unlikely that you'll listen to any other ever again.

Like the brilliant smaller cantatas Handel composed in his Roman years (there are three recent recordings of such works by `La Risonanza', of surpassing beauty), Il Trionfo is 100% in the Italian manner, bursting with vocal exuberance and athleticism, utterly passionate, yet underneath the pyrotechnics one finds the profound structural mastery of counterpoint that the Saxon brought with him from Germany. Handel was, dare I say, the greatest Italian composer of the 18th Century. He was obviously also the greatest English composer of the 18th Century. Listening to his Italian triumphs, however, I find myself wishing he'd stayed in Rome and never removed his art to stuffy Calvinist England. Superb as his English music would be, there was something in the air in Italy that might have pushed him to even greater artistic accomplishments.

Despite its title, the real triumph of the oratorio belongs to Beauty, sung with enthralling loveliness by Deborah York, whose arias soar above even the pyrotechnics of Pleasure, Time, and Disillusionment. Beauty has the last word, by the way, the final aria, which has to be one of the most surprising conclusions of any oratorio ever written, both musically and textually. The other singers - soprano Gemma Bertagnoli, alto Sara Mingardo, and tenor Nicholas Sears - are all equally flawless in technique, and all possess naturally beautiful voices, the chief prerequisite for Italian vocal music then and now.

No one ever utilized oboes more effectively than Handel. In the orchestra upon which the singers are borne aloft in triumph, it's the oboes that most often take the melodic lead and that perform the most breathtaking obbligatos. Kudos need to be awarded to the organ also, which emerges as an obbligato instrument in several arias; it's almost certain that Handel himself played the organ in the Roman premiere. And let's not forget the bassoon, played here by Paola Frezzato. It's a classic bassoon romp; I wish I'd played it myself.

There was no chorus in the first, Roman, edition of this Il Trionfo, and thus none in this performance. The biggest changes Handel would make in London would be to add choruses. To my ears, that was an error of taste occasioned by audience expectations. The cascades of vocal virtuosity that dominate this triumph don't need the gravity of choruses. If some of the arias sound awfully familiar, by the way, it's because Handel incorporated many of them in later operas and oratorios.

Conductor Rinaldo Alessandrini has done everything right this time. It's startling to me, as a veteran of the Early Music revival, how suddenly and undeniably Italian singers and instrumentalists such as Alessandrini have emerged as the most artful and exciting performers of Baroque music, stealing the Gold from the Northerners.

6 of 6 people found the following review helpful:

5.0 out of 5 stars essential, June 1, 2008

By	St. Mym "saintmym" (London) - See all my reviews

There is not a single duff piece in this early oratorio, and I cannot conceive of a better performance than it gets here. This is possibly the most glorious available recording of anything in the baroque repertoire. You can hear all the excitement that Handel must have felt on his exposure to the italian musical scene.

Buy it.

You will *not* regret it.

11 of 13 people found the following review helpful:

5.0 out of 5 stars Original Version (of 3); Excellent Performance, September 3, 2007

By	Paul Van de Water (Virginia, USA) - See all my reviews (REAL NAME)

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"Il Trionfo del Tempo e del Disinganno" (The Triumph of Time and Dis-Illusion) is often called Handel's first oratorio, although it is more a large-scale Italian cantata or serenata, like "Aci, Galatea, e Polifemo" or "Apollo e Dafne." Handel wrote this, the original, version of the work during his formative stay in Italy in 1707. He produced a second Italian-language version ("Il Trionfo del Tempo e della Verita," or The Triumph of Time and Truth) for London in 1737. At the end of his life, Handel produced a third, English version--"The Triumph of Time and Truth."

"Il Trionfo" comprises a moralistic debate between the allegorical characters Beauty, Pleasure, Time, and Dis-Illusion. The story carries little interest, but Handel's music is ravishing.

This 2007 reissue (recorded in 2000) is clearly the best recording of the first version--especially at its two-disc-for-one bargain price. The singers, period instrumentalists, and recording are all first-rate.

There's a very good recording of the second version available on Naxos (conducted by J.C. Martini) and an excellent recording of the final version on Hyperion (with Emma Kirkby and others, conducted by Denys Darlow). I enjoy all three. Forced to choose, however, my favorite is the last one.

Paul N. Van de Water