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Fernando Re Di Castiglia

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Product Details

  • Audio CD (Sept. 1 2008)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Label: EMI Classics
  • ASIN: B000FIHZM8
  • Average Customer Review: Be the first to review this item
  • Amazon Bestsellers Rank: #213,644 in Music (See Top 100 in Music)
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Disc: 1
1. Sosarme, re di Media, opera, HWV 30: Ouverture. Largo
2. Sosarme, re di Media, opera, HWV 30: Ouverture. Allegro
3. Sosarme, re di Media, opera, HWV 30: Ouverture. Allegro
4. Sosarme, re di Media, opera, HWV 30: Act 1. Scene 1. Recitativo. Di mio padre al furore
5. Sosarme, re di Media, opera, HWV 30: Act 1. Scene 1. Recitativo accompagnato. Voi miei fidi compagni
6. Sosarme, re di Media, opera, HWV 30: Act 1. Scene 1. Coro militare. Alla strage, alla morte, alla vittoria!
7. Sosarme, re di Media, opera, HWV 30: Act 1. Scene 2. Recitativo. Madre e regina
8. Sosarme, re di Media, opera, HWV 30: Act 1. Scene 2. Recitativo accompagnato. Rasserena, Isabella
9. Sosarme, re di Media, opera, HWV 30: Act 1. Scene 2. Aria. Rendi 'l sereno al ciglio
10. Sosarme, re di Media, opera, HWV 30: Act 1. Scene 3-4. Recitativo. Giusti numi
See all 33 tracks on this disc
Disc: 2
1. Sosarme, re di Media, opera, HWV 30: Act 2. Scene 8. Recitativo. Grazie al Cielo
2. Sosarme, re di Media, opera, HWV 30: Act 2. Scene 8. Duetto. Per le porte del tormento
3. Sosarme, re di Media, opera, HWV 30: Act 2. Scene 9. Recitativo. S'oggi smorzasti l'ire
4. Sosarme, re di Media, opera, HWV 30: Act 2. Scene 9. Aria. Alle sfere della gloria
5. Sosarme, re di Media, opera, HWV 30: Act 2. Scene 10-12. Recitativo. Alfonso amato
6. Sosarme, re di Media, opera, HWV 30: Act 2. Scene 10-12. Aria. Vado al campo
7. Sosarme, re di Media, opera, HWV 30: Act 2. Scene 13. Recitativo. Mio sposo, ahi! qual orrore
8. Sosarme, re di Media, opera, HWV 30: Act 2. Scene 13. Aria. In mille dolci modi
9. Sosarme, re di Media, opera, HWV 30: Act 2. Scene 14. Recitativo. Parmi che un dolce raggio
10. Sosarme, re di Media, opera, HWV 30: Act 2. Scene 14. Aria. Vola l'augello dal caro nido
See all 25 tracks on this disc

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Most Helpful Customer Reviews on (beta) HASH(0xa6c5bfe4) out of 5 stars 5 reviews
13 of 13 people found the following review helpful
HASH(0xa7cb912c) out of 5 stars I can't believe you can have so different opinions... Aug. 22 2007
By Luca Begonia - Published on
Format: Audio CD
I totally disagree with the previous, negative, comment on Curtis' performing of "Fernando". Curtis is one of the most outstanding and renowned Handel's specialists all around the world, and we can easily understand why, even from this recording. The music is exceptional, the singers are much more than just good or mediocre (especially the two countertenors), the irresitible rhythmic drive makes the listening a pure pleasure, and the reconstruction of the original score has a special historical interest. All in all this is what I usually look for in ancient music!!
15 of 17 people found the following review helpful
HASH(0xa6a1e528) out of 5 stars Another Winner from Curtis and Handel April 26 2007
By Robert M. Nichols - Published on
Format: Audio CD
Again Alan Curtis has demonstrated that he is the premier interpreter of Handel's operas. The music and singing contained in "Fernando" are very soothing to the ears and uplifts your spirit. Like a fine wine it improves with every successive partaking. Not to wear you out with cliches but it truly is an oasis in an otherwise insane world. Thank goodness there is music like this being produced. If you're a fan of Handel, Baroque music, or Alan Curtis don't walk but run (i.e. click your mouse) and purchase this CD without another moment's hesitation. Don't be dissuaded that there are only two CDs contained herein. The first CD contains 71 minutes of music and the second 77 minutes. Enjoy!
7 of 8 people found the following review helpful
HASH(0xa696f174) out of 5 stars A Diamond from Curtis & Co. Dec 2 2008
By Morten Fuglestad - Published on
Format: Audio CD
It is not a surprise that Sosarme, Re di Media (which was the name this opera had it's premiere under in 1732) was a huge success. The plot of hostillity between a father and a son is timeless, but in 1732 the relations between King George II and Frideric, Prince of Wales, were ice cold, and was at the centre of gossip and politics in England. The public took interest in the subject and perhaps this issue also was a main inspiration for Handel in composing this opera and choosing this libretto, which probably had been gathering dust on Handel's shelves for about 25 years at this point.

It was probably the touchy relations with Portugal (an important allied to Britain) that made Handel switch the tittle from Fernando, Re di Castiglia to Sosarme, Re di Media, when he set about to compose Act III, and thus change the names of the characters. By this easy change of names Handel showed that the opera was not a commentary on political issues in Portugal, but rather on the theme of reconcilliation of a father and a son.

Charles Burney (a leading historian of music in second half of the 18th century) thought highly of this opera and deemed it one of Handel's best. The first aria (Handel's only aria in B-major) in the opera (I;1), beautifly sung by Veronica Cangemi (Elvida), is very moving and should be "canonised" into the main repetoire of sopranos. Also the duet "Per le porte del tormento" (II;8) is stunning, and Burney mentions this particullary as a true masterpiece. Here Elvida sings together with Fernando (Lawrence Zazzo), and this duet is perhaps worth the two CDs alone.

The tenor Filippo Adami (Dionisio, king of Portugal) has one of the most demanding parts in this opera. Adami is a good actor and infuses the role with a tremendous sense of energy. Antonio Abete's bass (Altomaro) is also full of life, which is remarkable, as Curtis' casting of the bass Vito Priante in Vivaldi's Montezuma was a real letdown. Abete has nouances in his voice that is ideal to his interpretation of the villain's part. Altomaro isn't Handel's most interesting psycological portrayal of a villain, but he certainly composed some impressive music to his famed bass Mantagnena for this opera, and Abete is perfect for this.

Fernando is sung by counter-tenor Lawrence Zazzo. His interpretations are not so tastefull as i.e. a Phillipe Jarousky (which I belive would be ideal in this part) surely would have sung it. However Zazzo has a real sense of drama and heroism in the war-like arias and is moving in the more sensual arias. The other counter-tenor part, Sancio (Fernando's half-brother), is sung by Max Emanuel Cencic. His part in the plot is quite important, and could, with a little rewriting of the libretto, have been the protagonist. Cencic's interpretation of Sancio's first aria "Si, si minacia" (I;6), where his over-genorous use of vibrato in order to portray vengance threatening to destroy the kingdom, seems to go dangeroulsy near the pathetic. In other arias he showes a more interesting use of his voice, and on the whole he is a good singer.

It is also very nice to have Veronica Cangemi in such a splendid role where this rising star is given sufficient room to shine.

Curtis' conducting is dramatic and brings shades and light to the music without sacrificing poetry to drama. He is alert to the different rethorical modi which the arias calls upon and pushes the story forward with his deep sense of the drama's logical unity.

As Curtis' interpretation of Deidamia (Handel's last opera) showed, he is not at all suited to the humorus modes in Handel. There are however no comic elements in Fernando, and this fullfledged seria opera is more in his vein.

The recording (2005) from Tonhalle, St. Gallen, is quite dry and renders the bass a little wooly. You will certainly not find the close microphone sound of many of todays baroque-orchestras, but if you like the sound (and approach to Handel) of Nicholas McGegan, this recording will certainly prove a very succesfull one.
3 of 3 people found the following review helpful
HASH(0xa6d2a3e4) out of 5 stars An outstanding performance of the struggle between father and son Sept. 18 2010
By Omar Alvarez Pereira - Published on
Format: Audio CD
The opera «Fernando, re di Castiglia» (1732) by Georg Friedrich Händel deals with the struggle for the Kingdom between Dionisio I of Portugal (Filippo Adami) and his son Alfonso (Neal Banerjee) and how a wicked mind like Altomaro (played by the great bass Antonio Abete) provokes the worst feelings between the both; the aria «Tiene Giove in mano il folgore» was an attempt of Altomaro to justify the most horrible crime or misdeed that a father could commit.

One of the most beautiful arias of this masterwork is «Se discordia ne disciolse», sung by Dionisio, but Lawrence Zazzo as Fernando, the King of Castle is superb; his aria «Mi oporró da generoso» is a great proof of gorgheggi.

Max Emanuel Cencic as the prince Sancio is very good, too and has a very, very powerful voice in spite of he is a countertenor; in his aria «So che il ciel ben spesso gode», he speaks about the injustice in the world and establishes a relationship between Alfonso and Dionisio and the heavens that dropped thunders against Christ. A good comparison! Good performance of Alan Curtis and Il Complesso Barocco!
23 of 43 people found the following review helpful
HASH(0xa6a15054) out of 5 stars A missed opportunity Feb. 26 2007
By Webster Forrest - Published on
Format: Audio CD
Despite the presence of first rate singers Cangemi, Zazzo and Cencic in this recording, this is one of the most boring recordings of an opera I've heard to date. This must be ascribed to the unimaginative direction by Curtis, a cast otherwise containing competent to mediocre singers and an uninspired ensemble which sounds small and ineffective in the more dramatic moments. The score is not remarkable when compared with "Alcina" or "Tamerlano", however it does contain many items of interest: 'Dite pace', 'Fra l'ombre', 'Cuor di madre' to name but a few. This recording is only worth the purchase as it attempts to recreate Handel's original intention of setting the drama in renaissance Portugal instead of the mythical antiquity of Sosarme, Re di Media. The much older recording with Alfred Deller as Sosarme should remain preferable overall, as it is more energetic and engaging than this present dull recording. What this project needed in my opinion was a Minkowki or a Jacobs at the helm.