George Frederick Handel
13
Audio CD
9 offers from $6.23
George Frideric Handel
62
Audio CD
20 offers from $4.17
Joyce DiDonato
163
Audio CD
24 offers from $14.98

Track Listings

Disc: 1

1	Adagio - Allegro. - Ariodante HWV 33, Ouverture
2	Alla gavotta. - Ariodante HWV 33, Ouverture
3	Cavatina. Vezzi, lushinghe, e brio. - Ariodante HWV 33, Atto primo, Scena 1 & 2
4	Recitativo. Ami dunque, o signora?. - Ariodante HWV 33, Atto primo, Scena 1 & 2
5	Aria. Orrida a gl'occhi miei. - Ariodante HWV 33, Atto primo, Scena 1 & 2
6	Recitativo. Orgogliosa beltade!. - Ariodante HWV 33, Atto primo, Scena 3
7	Aria. Apri le luci, e mira. - Ariodante HWV 33, Atto primo, Scena 3
8	Recitativo. Mie speranze che fate?. - Ariodante HWV 33, Atto primo, Scena 4
9	Aria. Coperta la frode. - Ariodante HWV 33, Atto primo, Scena 4
10	Catavina. Qui d'amour nel suo linguaggio. - Ariodante HWV 33, Atto primo, Scena 5
11	Recitativo. T'amerò dunque sempre, idolo mio. - Ariodante HWV 33, Atto primo, Scena 5
12	Duetto. Prendi da questa mano. - Ariodante HWV 33, Atto primo, Scena 5
13	Recitativo. Non vi turbate bell'alme innamorate. - Ariodante HWV 33, Atto primo, Scena 6
14	Aria. Volate, amori. - Ariodante HWV 33, Atto primo, Scena 6
15	Recitativo. Vanne pronto, Odoardo. - Ariodante HWV 33, Atto primo, Scena 7
16	Aria. Voli colla sua tromba. - Ariodante HWV 33, Atto primo, Scena 7
17	Recitativo. Oh! felice mio core!. - Ariodante HWV 33, Atto primo, Scena 8
18	Aria. Con l'ali di constanza. - Ariodante HWV 33, Atto primo, Scena 8
19	Recitativo. Conosco il merto tuo, cara Dalinda. - Ariodante HWV 33, Atto primo, Scena 9
20	Aria. Spero per voi, sì, sì. - Ariodante HWV 33, Atto primo, Scena 9
21	Recitativo. Dalinda, in occidente già cade il sole. - Ariodante HWV 33, Atto primo, Scena 10
22	Aria. Del mio sol vezzosi rai. - Ariodante HWV 33, Atto primo, Scena 10
23	Recitativo. Ah! che quest'alma amante. - Ariodante HWV 33, Atto primo, Scena 11
24	Aria. Il primo ardor. - Ariodante HWV 33, Atto primo, Scena 11
25	Recitativo. Pare, ovunque m'aggiri. - Ariodante HWV 33, Atto primo, Scena 12 & 13
26	Sinfonia pastorale. - Ariodante HWV 33, Atto primo, Scena 12 & 13
27	Duetto. Se rinasce nel mio cor - Coro. Si godete al vostro amor. - Ariodante HWV 33, Atto primo, Scena 12 & 13
28	Ballo di Ninfe, Pastori e Pastorelle. - Ariodante HWV 33, Atto primo, Scena 12 & 13
29	Musette I. Lentement. - Ariodante HWV 33, Atto primo, Scena 12 & 13
30	Musette II. Andante. - Ariodante HWV 33, Atto primo, Scena 12 & 13
31	Allegro. - Ariodante HWV 33, Atto primo, Scena 12 & 13
32	Coro. Si godete al vostro amor. - Ariodante HWV 33, Atto primo, Scena 12 & 13

Disc: 2

1	Sinfonia. - Ariodante HWV 33, Atto secondo
2	Recitativo. Di Dalinda l'amore. - Ariodante HWV 33, Atto secondo, Scena 1 & 2
3	Aria. Tu preparati a morire. - Ariodante HWV 33, Atto secondo, Scena 1 & 2
4	Recitativo. Ginevra? O mio Signore!. - Ariodante HWV 33, Atto secondo, Scena 1 & 2
5	Aria. Tu vivi, e punito. - Ariodante HWV 33, Atto secondo, Scena 1 & 2
6	Recitativo. E vivo ancora!. - Ariodante HWV 33, Atto secondo, Scena 3
7	Aria. Scherza infida. - Ariodante HWV 33, Atto secondo, Scena 3
8	Recitativo. Lo stral ferí. - Ariodante HWV 33, Atto secondo, Scena 4
9	Aria. se tanto piace al cor. - Ariodante HWV 33, Atto secondo, Scena 4
10	Recitativo. Felice fu il mio inganno. - Ariodante HWV 33, Atto secondo, Scena 5
11	Aria. Se l'inganno sortisce felice. - Ariodante HWV 33, Atto secondo, Scena 5
12	Recitativo. Andiam, fidi, al consiglio. - Ariodante HWV 33, Atto secondo, Scena 6
13	Aria. Invida sorte avara. - Ariodante HWV 33, Atto secondo, Scena 6
14	Arioso. Mi palpita il core. - Ariodante HWV 33, Atto secondo, Scena 7 & 8
15	Recitativo. Sta lieta, o principessa. - Ariodante HWV 33, Atto secondo, Scena 7 & 8
16	Aria. Il tuo sangue, ed il tuo zelo. - Ariodante HWV 33, Atto secondo, Scena 7 & 8
17	Recitativo. Quante sventure un giorno sol ne porta! - Scena 10 - Recitativo accompagnato. A me impudica?. - Ariodante HWV 33, Atto secondo, Scena 9
18	Aria. Il mio crudel martoro. - Ariodante HWV 33, Atto secondo, Scena 10
19	Ballo. Entrée des Sponges agréables. - Ariodante HWV 33, Atto secondo, Scena 10
20	Ballo. Entrée des Songes funestes. - Ariodante HWV 33, Atto secondo, Scena 10
21	Ballo. Entrée des Songes agréables effrayés. - Ariodante HWV 33, Atto secondo, Scena 10
22	Ballo. Entrée des Songes agréables effrayés. - Ariodante HWV 33, Atto secondo, Scena 10
23	Recitativo accompagnato Che vidi? Oh Dei! Misera me!. - Ariodante HWV 33, Atto secondo, Scena 10

Disc: 3

1	Sinfonia - Cavatina. Numi! Lasciarmi vivere. - Ariodante HWV 33, Atto terza, Scena 1
2	Recitativo. Perfidi! io son tradita!. - Ariodante HWV 33, Atto terza, Scena 1
3	Aria. Cieca notte, infidi sguardi. - Ariodante HWV 33, Atto terza, Scena 1
4	Recitativo. Ingrato Polinesso!. - Ariodante HWV 33, Atto terza, Scena 2
5	Aria. Neghittosi, or voi che fate?. - Ariodante HWV 33, Atto terza, Scena 2
6	Recitativo. Sire, deh! non negare. - Ariodante HWV 33, Atto terza, Scena 3
7	Aria. Dover, glustizia, amor. - Ariodante HWV 33, Atto terza, Scena 3
8	Recitativo. Or venga a me la figlia. - Ariodante HWV 33, Atto terza, Scena 4 & 5
9	Aria. Io ti bacio, o mano augusta. - Ariodante HWV 33, Atto terza, Scena 4 & 5
10	Recitativo. Figlia, da dubbia sorte. - Ariodante HWV 33, Atto terza, Scena 4 & 5
11	Aria. Al sen ti stringo. - Ariodante HWV 33, Atto terza, Scena 4 & 5
12	Recitativo. Così mi lascia il padre?. - Ariodante HWV 33, Atto terza, Scena 6
13	Cavatina. Sì, morrò. - Ariodante HWV 33, Atto terza, Scena 6
14	Sinfonia. - Ariodante HWV 33, Atto terza, Scena 6
15	Recitativo. Arrida il Cielo alla giustizia. - Ariodante HWV 33, Atto terza, Scena 7-9
16	Aria. Dopo notte atra e funesta. - Ariodante HWV 33, Atto terza, Scena 7-9
17	Recitativo. Dalinda, ecco risorge. - Ariodante HWV 33, Atto terza, Scena 10
18	Duetto. Dite spera, e son contento. - Ariodante HWV 33, Atto terza, Scena 10
19	Recitativo. Da dubbia infausta sorte. - Ariodante HWV 33, Atto terza, Scena 11
20	Arioso. Manca, oh Dei! Ia mia s=costanza. - Ariodante HWV 33, Atto terza, Scena 11
21	Recitativo. Figlia, innocente figlia!. - Ariodante HWV 33, Atto terza, Scena 12
22	Duetto. Bramo aver mille vite. - Ariodante HWV 33, Atto terza, Scena 12
23	Coro. Ogn'uno acclami bella virtute. - Ariodante HWV 33, Atto terza, Scena ultima
24	Ballo. Gavotte. - Ariodante HWV 33, Atto terza, Scena ultima
25	Ballo. Rondeau. - Ariodante HWV 33, Atto terza, Scena ultima
26	Ballo. Bourrée. - Ariodante HWV 33, Atto terza, Scena ultima
27	Coro. Sa trionfar ognor virtude. - Ariodante HWV 33, Atto terza, Scena ultima

Editorial Reviews

In this complete recording of Ariodante, Alan Curtis, a supreme Handelian conductor and scholar, joins forces with glorious mezzo soprano Joyce DiDonato, who, with her Virgin Classics album of Handel arias, `Furore', "scored a triumph...which not only shows her phenomenal technical talent, but verily crackles with dramatic fire" (BBC).

In Ariodante, DiDonato takes the title role of a young prince -- remaining in male mode throughout after her recent gender-swapping antics on the operatic recital CD `Diva, Divo', The role was written for the star castrato Carestini and includes two contrasting showpieces -- `Dopo notte' and `Scherza, infida' -- both among the most famous of all Handel's opera arias.

When DiDonato sang Ariodante in Geneva in 2007, the Financial Times wrote: "How confidently she brings off trouser roles and what spinetingling effect she puts into a bravura piece such as `Dopo notte'", while the Neue Zürcher Zeitung felt that: "her bright, homogeneous mezzo soprano is wonderfully suited to the passionate lover who, just before his wedding, believes he has been deceived by his betrothed." The supposedly unfaithful Princess Ginevra is sung here by the sensuous-toned Canadian soprano Karina Gauvin, praised in Handel by Opera News for her "tonal substance, even at pianissimo," and her "real bel canto technique, all in one voice from top to bottom; the whole aria is carefully shaped without breaking the Baroque boundaries". Joining DiDonato and Gauvin in the cast are another fine Canadian singer, contralto Marie-Nicole Lemieux, the charming Spanish soprano Sabina Puertolas and the elegant Finnish tenor Topi Lehtipuu.

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
Product Dimensions ‏ : ‎ 5.24 x 5.24 x 0.71 inches; 6.21 Ounces
Manufacturer ‏ : ‎ Erato Disques
Item model number ‏ : ‎ 5099907084423
Date First Available ‏ : ‎ April 16, 2011
Label ‏ : ‎ Erato Disques
ASIN ‏ : ‎ B004Q84Z0S
Number of discs ‏ : ‎ 3

Best Sellers Rank: #301,593 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #10,112 in Chamber Music (CDs & Vinyl)

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patagandia

Outstanding performance

Reviewed in the United States on March 8, 2020

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Outstanding performance of a great opera by Handel

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Rob

Good, but not exceptional

Reviewed in the United States on November 8, 2011

This recording of "Ariodante" without a doubt will take its rightful high place among the other recordings of this opera.

All soloists' voices are flexible, well controlled. I consider Topi Lehtipuu the best Lurcanio up to date, his phrasing is flawless and very moving. The performance of Karina Gauvin (Ginevra) is very involved, she manages to put real passion to her singing and still keep in touch with abstained, but meaningful conducting manner of Curtis. The dark timbre of the voice Marie-Nicole Lemieux is very well suited to the role of Polinesso. The singing of Matthew Brook is overall adequate, though inexpressive and bleak.
Joice diDonato... Based on her previous collaboration with Curtis (Radamisto, Alcina, Elmira(Floridante)) I had really high expectations from her rendition of Ariodante... Well, I was disappointed... Of course, she do her best here, all advantages of her voice - flexibility, warmness and clearness of tone, shining top range etc, are present and demonstrated, but there are obvious problems: her bottom range is not well suited to the part, she is a little dull and uninvolved in pathetic moments.
For me the major shortcoming of this recording is Sabina Puertolas. It is really mystery why on earth Curtis gave part of Dalinda to the singer who noticeably lisps...

Let's summarize. Lehtipuu and Gauvin receive grade A, Lemieux: A-, diDonato B, Brook: B-, Puertolas: C. Curtis and Il Complesso Barocco A-.
Overall I would rate this recording as good (4 stars), but not exceptional.

9 people found this helpful

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Kimberly J. Leong

Ariodante

Reviewed in the United States on July 24, 2017

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Excellent transaction, product as described.

Reviewed in the United States on June 20, 2017

Exceptional!

Reviewed in the United States on April 1, 2014

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I just don't get the excitement over Alan Curtis's performances. Sometimes they are very good, though there is always at least one weak performer, sometimes more. But when you can get William Christie's recording of this, why bother with something inferior?

2 people found this helpful

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a Stunning Performance, and New "First Choice" for an Ariodante recording!

Reviewed in the United States on July 17, 2011

Ariodante ranks with Juliuo Cesare, Alcina, and Tamerlano as one of the four greatest of Handel's operatic output. My first introduction to this masterpiece was years ago on lp's with Janet Baker in the title role under Raymond Leppard and, as is the case with many recordings from one's past, this one still holds much special meaning for me and I treasure her in this role.

Later, however, and lucky for Handel fans, a series of great(er) recordings have come along, not least of which have seen Lorraine Hunt-Lieberson and Anne Sophie von Otter tackle the work. This latter, under Minkowski, has long been my favorite recording as I am sure it has for many others.

A few years back I happily discovered Alan Curtis and his great work with the operas of Handel and Vivaldi. My esteem for him and his efforts has steadily risen and I now consider him the greatest proponent of these two giants' operas, and I have come to look forward to each new recording from him.

This Ariodante, with Joyce DiDonato in the title role, is simply stunning and seems to be completely balanced, with everything in the right place vocally and instrumentally. The sound here is just wonderful, and to my ears completely idiomatic to this composer and his time, with Il Complesso Barocco again delivering a fabulous performance. I would place Curtis' efforts firmly alongside Minkowski's for direction of this work.

As much as I like the previous singers of the role, DiDonato clearly rises above them all. She has mastered Handel's idiomatic style completely and seems "born" into this role. Her vocal delivery here is so beautiful as to be clearly the best we have heard, and to my ear impeccable. Her coloring of each aria quite simply opens doors into Handelian interpretation. Simply put, she is unmatched by any of the previous singers. Her execution of Handel's text throughout is marvelous, every utterance just seems tempered and delivered to perfection, breathing greater life into this role than we have seen before. Her trills will knock you back in your seat and her "Dopo note" is stunning. The "Scherza infida" is shaded and delivered more darkly by her here and it is simply fantastic!

Karen Gauvin as Genevra is quite commendable, able to wring out all our sympathy, and I doubt anyone would have any disappointment with her interpretation or abilities. Marie-Nicole Lemiux sweeps everyone before her in her dark portrail of Polinesso. She, also, just seems born for her role here. Lurcanio, sung here by Topi Lehtipuu, is totally commendable and certainly on par with, perhaps better, than previous singers on other recordings.

All in all, this new Ariodante clearly is a first choice for anyone coming to this opera for the first time, and it is definitely a "Must-Have" for seasoned Handel fans. I would expect that later this year when the Awards Season arrives, this will be a clear winner for best Opera Recording of the Year!

You're gonna love this recording!

****And, better yet, look at the price! How can you resist that, Handel Fans?****

39 people found this helpful

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Chris Protopapas

Finally an Ariodante that satisfies

Reviewed in the United States on July 14, 2011

Ariodante is the one of Handel's "great" operas I've always had the most trouble with. I found both Minkowski's and McGegan's recordings curiously unsatisfying, even with such great singers as Anne-Sofie von Otter and Lorraine Hunt in the title role. This recording is different. Alan Curtis apparently decided "no more mr. Nice Guy", and went for broke in this recording. It's an exceedingly dramatic and forceful performance, aided and abetted by his star, Joyce DiDonato. Even the recitatives sparkle with drama. There are still problems, but they are mostly of Handel's making, not mr. Curtis. The first act has always seemed disappointing to me, with a lot of downright awkward music. There's the great aria "Con L'ali Di Constanza" of course, but it's always struck me that Ariodante follows closer to the pattern of many second-tier Handel operas, where the first act is not quite on the level of the second and third acts, than the other great masterpieces such as Guilio Cesare, Rinaldo or Orlando which are on a uniformly high level of inspiration.

No matter, Curtis leads a wonderful performance, and when Handel's greatest operatic aria, "Scherza Infida" rolls around, Joyce DiDonato gives an absolutely electrifying rendition of this masterpiece. Better even than her recent CD of Handel arias, and better than the live performance I saw her give at Zankel Hall a couple of years ago. Everyone else is excellent, the orchestral playing is top-notch. Very satisfying, at last.

20 people found this helpful

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Jon

Gran ópera barroca, edición simplona.

Reviewed in Spain on June 30, 2023

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Alan Curtis reúne a un maravilloso reparto para esta ópera de Handel que se compuso en un momento en el cual, tenía que hacer frente a la competencia, la Ópera de la Nobleza, con el compositor Nicola Porpora al frente, y quien contaba con la ayuda del famoso castrato Farinelli. Todo esto, ocurría en enero de 1735, aunque la ópera se compuso en los meses anteriores.

Como novedad, en esta ópera se incluye diversas danzas para una compañía de ballet francesa, cosa que, en el rígido mundo de la ópera seria italiana no se estilaba mucho. En cualquier caso, esta ópera resulta menos pesada de escuchar que otras del mismo tipo y destaca la genial mezzo norteamericana; Joyce Didonato en el rol titutal.

La única pega es que la edición, al ser la económica, no incluye el libreto y Warner Classics no se ha molestado en poner un enlace para descargarlo gratuitamente en formato pdf, que ya sería un detalle. Pero bueno, quitando eso es un buena grabación. Si coleccionas óperas barrocas, pues es un título más que añadir.

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charles whitworth

I thoroughly enjoyed this

Reviewed in the United Kingdom on June 3, 2023

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I can't find much wrong with this performance, and I really enjoyed it very much. But then I always seem to enjoy Handel.

caroline lesniak

Relève assurée !

Reviewed in France on May 17, 2011

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Dans ce répertoire haendélien, qui met si bien en valeur la beauté des voix autant que celle de l'orchestre, la peinture des sentiments humains les plus variés est cependant toujours en première place. Tout y est , de l'explosion d'allégresse totalement euphorisante, à l'expression poignante du désespoir et de la douleur.... Où virtuosité étourdissante et sobriété épurée se rejoignent dans l'exposé des sentiments, entre exubérance et retenue : le Bel Canto en état de grâce!

Voila plus de 10 ans, Marc Minkowski nous donnait une merveilleuse version, avec l'Ariodante de sa génération en la personne d'Anne Sofie Von Otter, inoubliable, et très bien entourée. Ce nouvel enregistrement témoigne de la valeur des interprètes de la génération actuelle, voix et personnalités de premier plan !

Joyce DiDonato: charme du timbre, beauté du chant soutenu par une maitrise technique sans failles, le tout au service d'un tempérament unique, fait d'ardeur et de sensibilité, sachant exprimer de la manière la plus convaincante les sentiments les plus divers, avec comme résultat de servir la musique et non uniquement de briller....Le must des interprètes.
La colère rentrée de son ''Scherza infida'' évolue progressivement vers l'issue fatale, dans un parfait équilibre entre intensité dramatique et intériorisation, à mi-chemin entre une Janet Baker, référence incontournable dans ce répertoire, et Anne Sofie Von Otter.
Malgré le tempo pour le moins "difficile" choisi par Alan Curtis (7'22 au lieu de 6'45 chez Minkowski , et même 6'39 pour Magdalena Kozena dans un disque récital), la vaillance et la splendeur vocale de son "Dopo notte'' le placent tout à côté de celui de Janet Baker ( qui dans un tempo plus rapide avec Raymond Leppard brillait d'un éclat solaire incomparable!).

Karina Gauvin est idéale en Ginevra, soprano au timbre exceptionnel, à la fois sensuel et lumineux, mêlant virtuosité à toute épreuve et sensibilité à fleur de peau, à découvrir absolument et de toute urgence car il semble que sa notoriété n''est pas encore chez nous ce qu''elle devrait être!

Quant à Marie-Nicole Lemieux, elle incarne l'affreux Polinesso avec toute la conviction et le panache qu'on lui connait, nous régalant au passage de sa superbe voix de contralto, capable de brûler, elle aussi, d'un feu intense, plus variée dans la caractérisation de son personnage qu'Ewa Podles chez Minkowski.

Tous les autres rôles sont parfaits et à la hauteur de l'engagement dramatique général, avec notamment le Lurcanio de Topi Lehtipuu, dont le timbre corsé, la vaillance et la sensibilité évoquent un Fritz Wunderlich...
Citons encore la délicieuse Dalinda au tempérament bien affirmé de la soprano espagnole Sabina Puertolas, et la superbe basse Matthew Brook.
Tous atteignent un degré d'expressivité exceptionnel, qui insuffle la vie à ce répertoire baroque, dans son plus grand respect stylistique (quasiment tous en sont des spécialistes), et qui fait que le temps passe très vite à l'écoute de ces 3 heures de musique.

Si la direction d'Alan Curtis est moins percutante et impliquée que celle de Marc Minkowski, avec des options de tempo parfois surprenantes, la réussite tant musicale que dramatique de l'ensemble est toutefois bien réelle et comblera les amoureux de ce répertoire!

25 people found this helpful

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Artaserse

Una obra de arte

Reviewed in Spain on April 6, 2013

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A pesar de que Ariodante fue solo representada en once ocasiones en su primera temporada, y recuperada en la temporada siguiente para dos únicas representaciones más, no cabe duda de que la excelencia musical de su partitura y la calidad literaria de su libreto, basado en la Ginevra principessa de Scozia de Antonio Salvi, inspirado a su vez en el Orlando furioso de Ariosto, la sitúan entre las óperas más destacadas de Händel, ocupando un palmarés de honor junto a otras obras maestras suyas como Tamerlano o Alcina, y la incontestable Giulio Cesare in Egitto, que cosecharon mayor éxito en su día.

La versión que nos ocupa es la sexta versión discográfica de esta ópera, a cargo de Il Complesso Barocco bajo la experta batuta del gran Alan Curtis. Musicalmente hablando, la versión de Curtis resulta más suntuosa que la de Marc Minkowski, que, pese a ser muy recomendable, parece apremiar demasiado a los cantantes en algunos pasajes, acelerando el ritmo de la música en exceso.

El papel principal corre a cargo de la imparable mezzo estadounidense Joyce DiDonato, que vocalmente resulta más exuberante que Anne Sophie von Otter, la cual interpretó al príncipe Ariodante en la versión de 1999 bajo la batuta de Minkowski. DiDonato excede en la coloratura y la ornamentación vocal, de tendencias claramente líricas y timbre sólido, mientras que la mezzosoprano sueca realiza una interpretación más contenida pero igualmente relevante, como se demuestra en su rendición de "Scherza infida" o "Ciecca note, infidi sguarde". Magnífica DiDonato en "Tu, preparati a morire" en el acto segundo o en la famosa "Dopo notte"; la mezzo estadounidense brilla en todas sus intervenciones.

La Ginevra de Karina Gauvin destaca en los staccati y la coloratura de algunas de sus arias, especialmente en "Il mio crudel martoro", frente a una Lynne Dawson de timbre más oscuro y atormentado. Sabina Puértolas no es capaz de superar la interpretación de Verónica Cangemi en el papel de Dalinda. La soprano navarra tiende a resultar estridente en algunos pasajes, mientras que la argentina resulta más delicada en la rendición de sus arias, especialmente en "Apri le luce" (Acto I).

La contralto canadiense Marie Nicole Lemieux resulta más fresca que Ewa Podles en el papel de Polinesso, ya que la cantante polaca ya no estaba en el cenit de su carrera en el momento de la grabación de Minkowski, si bien es innegable que realiza una interpretación poderosa. Lemieux brilla con fuerza en todas sus arias, destacando en "Dover, giustizia, amor" (Acto III).

La belleza vocal del timbre de Richard Croft (Lurcanio en la versión de Minkowski) no es superada por la interpretación de Topi Lehtipuu, quien a pesar de todo lleva a cabo un trabajo notable en una de las arias más bellas para tenor compuestas por Händel, como es "Del mio sol vezzosi rai". En mi opinión, el tenor italiano Anicio Zorzi Giustiniani, que interpreta al caballero Odoardo, y que desgraciadamente no cuenta con una sola aria en toda la ópera, hubiese sido más apropiado para interpretar a Lurcanio, al poseer un instrumento vocal de mayor potencia que Lehtipuu, que tiene una voz hermosa pero algo más débil en algunos pasajes.

Por último, Matthew Brook (el rey de Escocia) posee un timbre más hermoso y baritonal que Denis Seov, sin embargo carece de la cavernosidad y la profundidad de éste.

Curtis ha incluido en esta versión dos números que estaban presentes en la primera versión pero que fueron sustituidos la noche del estreno; uno de ellos es un ballet que representa la secuencia del sueño de Ginevra, atormentada por terribles pesadillas; el otro es el aria del rey "Invida sorte amara", en el segundo acto.

Il Complesso Barocco sigue enriqueciendo con sus grabaciones el extenso territorio de la ópera barroca, gracias a la labor del insigne Alan Curtis. Un disco magnífico y absolutamente necesario para los amantes de Händel.

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E. L. Wisty

Handel upping his game

Reviewed in the United Kingdom on May 17, 2011

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In 1733 a group of wealthy patrons and breakaway Italian singers including Senesino formed the rival company Opera of the Nobility under the direction of Nicola Antonio Porpora, which in the next season displaced Handel from the King's Theatre in the Haymarket. Handel needed to respond to the challenge and take opera up a level with new attractions to bring in the punters.

He moved to the recently opened and well-equipped Covent Garden, and gave opportunities to a number of home-grown singers alongside the Italian superstars. He began to incorporate the Covent Garden chorus (previously the chorus had consisted of the soloists in unison), and recruited the dance company of the famed French ballerina Marie Sallè.

Handel selected the libretto "Ginevra principessa di Scozia" by Antonio Salvi, who had taken an episode from Ariosto's epic Orlando Furioso, that rich mine delved by so many librettists and composers. He reworked the libretto and score several times before Ariodante opened on 8 January 1735. Commercially it was only moderately successful with a run of 11 performances (the next production, Alcina, was much more of a hit), but today many regard this opera as one of Handel's best, indeed it is sufficiently popular that this is the sixth production committed to disc so far.

Alan Curtis in this recording has commendably restituted some of Handel's earlier revisions. Of particular note here is the end of Act 2, where Ginevra is in prison awaiting execution, where Curtis has restored the dream sequence and ballet. Ginevra awakes with a start, and unusually concludes the act with an accompanied recitative, leaving us hanging with dramatic tension.

A couple of days before receiving this set I chanced to hear an aria excerpted from it on Radio 3 performed by mezzo Joyce Di Donato. I felt a little underwhelmed to be quite honest, despite the obligatory cloying praise from the presenter. My concerns were confirmed on listening to the entire set. Di Donato in the title role just does not shine for me on the whole - it is true that she comes good in the famous arias "Scherza infida" (Act 2, where Ariodante learns of Ginevra's alleged adultery) and "Dopo notte" (Act 3, where Ariodante learns the truth about Ginevra's faithfulness), but apart from a few instances such as these she lacks a sharp edge, and can even be downright disappointing. Di Donato at her best can be stunning, but in this instance clearly I have been listening to a different set of discs to the broadsheets with their fulsome tributes.

Di Donato is here outclassed for me by sopranos Karina Gauvin as Ginevra and Sabina Puèrtolas (an excellent singer I have not come across before and I will certainly be keeping an eye out for more of her work) as Dalinda. However, contralto Marie-Nicole Lemieux, who has never really lit my fire despite me being a fan of that voice type, comes across once again with relatively few exceptions as rather ordinary playing the baddie Polinesso. Bass Matthew Brook is beautifully regal as the King, and tenors Topi Lehtipuu (surely due a bigger role by now?) and Anicio Zorzi Giustiani support excellently in the lesser roles as Lurciano and Odoardo respectively.

Il Complesso Barocco too has its off moments. Take the King's Act One aria "Voi colla sua tromba", and the bum notes thrown in by the horns. Why Curtis did not insist on redoing this I know not.

With Ariodante, Handel upped his game. Unfortunately I don't think that overall the same can be said for Curtis with this recording. His arrangement is excellent - but his choice of performers and what he has got out of them is less so in some instances. Not having heard any of the earlier renditions, I cannot comment upon the relative merits.

The set is packaged in a hinged cardboard box with the three discs in cardboard sleeves. The accompanying booklet provides background notes and synopsis in English, French and German. The full libretto is supplied with English translation.

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Handel: Ariodante

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