Armida, Bartoli: Joseph Haydn: Amazon.ca: Music

Product Details

Audio CD (Oct 17 2006)
SPARS Code: DDD
Number of Discs: 2
Label: Warner Classics International
ASIN: B00004YSFQ

Average Customer Review: 4.8 out of 5 stars See all reviews (8 customer reviews)

Amazon Bestsellers Rank: #35,815 in Music (See Top 100 in Music)

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Track Listings

Disc: 1
1. Armida, opera, H. 28/12: Sinfonia
2. Armida, opera, H. 28/12: Act I: Recitativo; Amici, il fiero Marte
3. Armida, opera, H. 28/12: Act I: Aria; Vado a pugnar contento
4. Armida, opera, H. 28/12: Act I: Recitativo; Armida, ebben, che pensi?
5. Armida, opera, H. 28/12: Act I: Aria; Se dal suo braccio oppresso
6. Armida, opera, H. 28/12: Act I: Recitativo accompagnato; Partì Rinaldo
7. Armida, opera, H. 28/12: Act I: Aria; Se pietade avete, oh Numi
8. Armida, opera, H. 28/12: Act I: Marcia
9. Armida, opera, H. 28/12: Act I: Recitativo accompagnato; Valorosi compagni
10. Armida, opera, H. 28/12: Act I: Aria; Dove son? Che miro intorno? - Recitativo accompagnato; Qual turbamento ignoto - Recita
See all 15 tracks on this disc
Disc: 2
1. Armida, opera, H. 28/12: Act II: Recitativo; Odi, e serba il segreto
2. Armida, opera, H. 28/12: Act II: Aria; Tu mi sprezzi, e mi deridi
3. Armida, opera, H. 28/12: Act II: Recitativo; No, non mi pento
4. Armida, opera, H. 28/12: Act II: Aria; Ah, si plachi il fiero Nume
5. Armida, opera, H. 28/12: Act II: Recitativo; Va pur, folle
6. Armida, opera, H. 28/12: Act II: Aria; Teco lo guida al campo
7. Armida, opera, H. 28/12: Act II: Recitativo; Ben simulati io credo
8. Armida, opera, H. 28/12: Act II: Recitativo accompagnato; Armida ... Oh affanno!
9. Armida, opera, H. 28/12: Act II: Aria; Cara, � vero, io son tiranno
10. Armida, opera, H. 28/12: Act II: Recitativo accompagnato; Barbaro! E ardisci ancor
See all 23 tracks on this disc

Product Description

From Amazon.co.uk

There are many reasons to buy this recording--to hear the amazingly varied riches of Cecilia Bartoli's voice, for example, or listen to the dramatic wildness of Harnoncourt's conducting, or the gorgeously crisp string playing--but don't expect anything resembling tension in the plot. The story is simple and repetitive; each time the warrior Rinaldo remembers his military duties, Armida, the sorceress, calls him back to a life of love. Haydn has nothing of Mozart's psychological insight, and fails to invest the conventions of opera seria with the genius of his contemporary. That said, the conventions are still well observed, and the work could hardly be performed better than it is here: Bartoli is simply superb, the delicious coloratura Patricia Petibon gives Zelmira a wonderful heroic edge, and Harnoncourt keeps everything crackling along. And if Christoph Prégardien is less secure in the coloratura passagework than in the lyrical sections, his is still a gorgeous tenor voice worth catching on disc. --Warwick Thompson

Chronique amazon.fr

La curiosité du chef Nikolaus Harnoncourt a ressuscité un authentique chef-d'oeuvre. De nombreux compositeurs (Lully, Haendel, Gluck) s'étaient déjà emparés des aventures amoureuses et tumultueuses du chevalier Rinaldo et de la magicienne Armida, tirées de la Jérusalem délivrée du Tasse. Créé en 1784, l'Armida de Haydn est le dernier opéra composé pour le prince Nikolaus Esterhazy, mais aussi son premier ouvrage seria. Pourtant, à la manière de Mozart, Haydn a su s'affranchir de l'alternance rigide et monotone d'airs et de récitatifs, qui gouverne habituellement ce genre. Ainsi, le dernier acte, qui se déroule dans une forêt enchantée, nous offre 30 minutes de musique presque ininterrompue, préfigurant les ouvrages romantiques du XIXe siècle. Ce disque est l'enregistrement du concert donné le 3 juin 2000, dans la somptueuse salle du Musikverein de Vienne, sous la baguette flamboyante d'Harnoncourt. La distribution est irréprochable (Christoph Prégardien, Patricia Petibon), dominée par la stupéfiante Cecilia Bartoli, qui passe en quelques mesures de la colère la plus brûlante à l'imploration amoureuse la plus bouleversante. --Franck Erikson

Customer Reviews

Most helpful customer reviews

1 of 1 people found the following review helpful

Period instruments do make a difference Dec 26 2000

By Isabella Channel

Format:Audio CD

Like almost everyone else, I have treasured for over 20 years the Antal Dorati Haydn opera cycle in Philips. At that time, when Philips was run by smart and competent people, we could expect Haydn recordings with the likes of Jessye Norman, Frederica von Stade, Ileana Cotrubas and Luigi Alva; these days we are damned with Bocelli in La Boheme and the Verdi Requiem. Anyway, even if it took more than 20 years for the next recording of Haydn's Armida to appear, it was worth the long wait. The most important contribution is the use of period instruments which help to clarify the textures and the orchestral balance. The excellent Concentus Musicus Wien has Haydn in its blood and plays superbly for Harnoncourt, who next to Frans Bruggen is probably the finest Haydn conductor ever. Cecilia Bartoli covers herself with glory, singing with total command and understanding her difficult character. Jessye Norman was also superb, and it is obvious that both prima donnas understand what a great opera this is. It is true that Claes H. Ahnsjo was more exciting for Dorati than Pregardien is for Harnoncourt, but then he is singing live a terribly difficult and demanding role. Pregardien is more cautious but very good too. The rest of the cast is excellent, and I can recommend this Armida next to William Christie's Alcina and Antonio Pappano's Manon as the three finest operatic recordings of year 2000.

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1 of 1 people found the following review helpful

One of the finest recordings of the year Nov 28 2000

By Erick

Format:Audio CD

I can only congratulate Cecilia Bartoli for choosing this marvelous opera instead of recording another "Barbiere". Smart as she is, she found in Armida a perfect role for her. Christoph Pregardien, a most eloquent Lieder and oratorio singer perhaps lacks the operatic brilliance of Claes H. Ahnsjo in the Dorati recording, but considering how difficult his role is, he also deserves a standing ovation. Harnoncourt conducts with white hot passion, and his formidable orchestra is infinetely superior in every department to Dorati's good, but old fashioned modern instrument band. Can I enter a plea for "Il Mondo della Luna" and "La Fedelta Premiata" ?

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