| M. Kožená - Handel Italian Cantata I "Delirio Amoroso" |
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Extract from the young G.F. Handel's Italian
Cantata
"Delirio Amoroso" (1707), HWV 99
Magdalena Kožená, Mezzo-Soprano
Marc Minkowski, Les Musiciens du Louvre
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Per te lasciai la luce,
ed or che mi conduce
amor per rivederti,
tu vuoi partir da me.
Deh! ferma i passi incerti,
o pur se vuoi fuggir, dimmi, perché?
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For you I left the light,
and now that love leads me
to see you once more,
you wish to run from me.
Ah, stay your wavering steps,
or if you would still shun me, tell me why?
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"The text of this cantata is couched in the
Arcadian literery conventions that were
fashionable in Rome at that time. Clori
describes the search for her lover Tirsi,
using the imagery of the underworld from
pagan classical mythology. Eventually she
arrives at the blessed Elysium."
[from the CD booklet]
Tags : Magdalena Kozena Marc Minkowski Handel Italian Cantatas Delirio Amoroso Per Te Lasciai La Luce |
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Affichage : 3785
Durée : 457 s |
| Händel: Delirio amoroso, HWV 99 - 1/5 - Haim |
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High resolution and stereo sound:
http://www.youtube.com/watch?v=-rf79TNCaEY&fm
t=18
Delirio amoroso, HWV 99 (also known as Da
quel giorno fatale)
Italian cantata for soprano with instruments
and basso continuo
Text: Cardinal Benedetto Pamphilj
Music: Georg Friedrich Händel
Completed score: Rome, on or before January
14, 1707
First performance: at the Pamphilj palace in
May 1707
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Video part 1:
- Introduzione
Video part 2:
- Recitativo: Da quel giorno fatale
- Aria: Un pensiero voli in ciel
Video part 3:
- Recitativo: Ma fermati, pensier
- Aria: Per te lasciai la luce
Video part 4:
- Recitativo: Non ti bastava, ingrato
- Aria: Lascia omai le brune vele
- Recitativo: Ma siamo giunti in Lete
- Entrée
Video part 5:
- Minuet
- Aria: In queste amene piagge serene
- Recitativo: Sì, disse Clori
- Minuet (reprise)
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In this video:
Patrick Beaugiraud, oboe
Le Concert d'Astrée,
conducted by Emmanuelle Haïm
Recorded in 2005
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Delirio amoroso was composed in 1707 for
Handel's patron Benedetto Pamphilj, who also
wrote the libretto texts. This extensive
cantata is an evocation of hallucinatory
madness in which Clori imagines she enters
the realm of the dead to conduct her
disdaining lover to the Elysian fields.
"Pamphilj's text for Delirio amoroso (Love's
delirium) is more imaginative than most
cantata texts, and inspired Handel to create
some expansive and delightful music. The
cantata may have been presented with a simple
form of staging, as is suggested by the
unusual feature of dance movements for the
instruments alone. The first and last
recitatives are narrations, setting and
closing the scene. In between the singer
impersonates the lover Chloris mourning the
death of her beloved Thyrsis. Apparently he
never responded to her love, so in her
'delirium' she imagines that he is being
punished in hell for his cruelty. She
resolves to enter the underworld herself and
bring him back to life - but even in death he
continues to reject her. At first she is
angry, but then she decides in an act of
compassion to move him from the fiery part of
Hades to the Elysian Fields.The cantata
begins with an orchestral Introduzione in da
capo form, the lively opening section with
solo oboe being repeated after a short Largo
for strings alone. Chloris's first aria, with
its extensive part for solo violin, is one of
the most elaborate that Handel ever wrote,
and he made good use of it in other works. It
became the closing aria of Act 1 of his opera
Rodrigo, produced in Florence in the autumn
of 1707, and a more substantially revised
version also appeared in the first version of
Radamisto, produced in London in April 1720.
The second aria, Per te lasciai, begins as a
wistful minuet, but immediately broadens into
a dialogue between the voice and a solo
cello; in the more dramatic middle section,
Chloris' pleas to Thyrsis are answered only
by eloquent moments of silence. Yet another
solo instrument, a recorder, appears in the
next aria, from which Handel later took ideas
for "Hush, ye pretty warbling choir" in Acis
and Galatea and for his violin sonata in D
major. The orchestral Entrée is one of the
earliest known examples of Handel's borrowing
from other composers: the opening bars come
directly from Reinhard Keiser's opera
Claudius, produced in Hamburg in 1703, where
they also begin an Entrée of Spirits in the
Elysian Fields; the rest of the movement
comes from an earlier Entrée of Handel's
own, in Act 3 of Almira, his first opera for
Hamburg." - Anthony Hicks
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Eser.
Tags : George Frideric Handel Delirio amoroso Patrick Beaugiraud Concert Astree Emmanuelle Haim |
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Affichage : 2244
Durée : 307 s |
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