Handel: Giulio Cesare, opera in three acts, HWV 17 | George Petrou & Festspiel Orchester Göttingen
Vložit
- čas přidán 17. 08. 2022
- __
Handel: Giulio Cesare in.Egitto, opera in three acts, HWV 17
Act I:
00:00:00 - Ouverture
00:02:50 - Coro: Viva, viva il nostro Alcide! (Egyptians)
00:04:05 - Aria: Presti omai l'egizia terra (Cesare)
00:09:12 - Aria: Empio, dirò, tu sei (Cesare)
00:13:18 - Aria: Priva son d'ogni conforto (Cornelia)
00:19:29 - Aria: Svegliatevi nel core (Sesto)
00:25:15 - Aria: L'empio, sleale, indegno (Tolomeo)
00:31:13 - Aria: Non disperar, chi sa? (Cleopatra)
00:35:35 - Accompagnato: Alma del gran Pompeo (Cesare)
00:40:09 - Aria: Non è sì vago e bello il fior nel prato (Cesare)
00:43:27 - Aria: Tutto può donna vezzosa (Cleopatra)
00:47:56 - Arioso: Nel tuo seno, amico sasso (Cornelia)
00:52:35 - Aria: Cara speme, questo core (Sesto)
01:00:02 - Aria: Va tacito e nascosto (Cesare)
01:08:07 - Aria: Tu sei il cor di questo core (Achilla)
01:13:07 - Duetto: Son nata a lagrima (Cornelia, Sesto)
Act II:
01:21:29 - Aria: Chi perde un momento (Nereno)
01:26:18 - Aria: V'adoro, pupille- - Non ha in cielo il Tonante (Cesare, Cleopatra)
01:33:44 - Aria: Se in fiorito ameno prato (Cesare)
01:43:24 - Arioso: Deh, piangete, oh mesti lumi (Cornelia)
01:47:23 - Aria: Sì spietata, il tuo rigore (Tolomeo)
01:51:41 - Aria: Cessa omai di sospirare! (Cornelia)
01:55:32 - Aria: Langue offeso mai riposa (Sesto)
02:00:37 - Aria: Venere bella (Cleopatra)
02:08:25 - Aria e Coro: Al lampo dell’armi (Cesare, Congiurati)
02:11:18 - Accompagnato: Che sento? Oh Dio! (Cleopatra)
02:12:28 - Aria: Se pietà di me non senti (Cleopatra)
02:22:14 - Arioso: Belle dee di questo core (Tolomeo, Cornelia)
02:27:34 - Aria: L’aure che spira tiranno e fiero (Sesto)
Act III:
02:32:41 - Aria: Dal fulgor di questa spada (Achilla)
02:35:52 - Sinfonia
02:37:13 - Aria: Domerò la tua fierezza | Tolomeo
02:42:04 - Aria: Piangerò la sorte mia (Cleopatra)
02:49:17 - Accompagnato: Dall'ondoso periglio (Cesare)
03:02:10 - Aria: Quel torrente, che cade dal monte (Cesare)
03:06:04 - Aria: La giustizia ha già sull'arco (Sesto)
03:09:55 - Accompagnato: Voi, che mie fide ancelle (Cleopatra)
03:13:15 - Aria: Da tempeste il legno infranto (Cleopatra)
03:22:32 - Sinfonia
03:26:23 - Duetto: Caro! Più amabile beltà (Cleopatra, Cesare)
03:31:14 - Coro e Duetto: Ritorni omai nel nostro core (Egyptians, Cleopatra, Cesare)
Yuriy Mynenko: countertenor | Giulio Cesare
Sophie Junker: soprano | Cleopatra
Nicholas Tamagna: countertenor | Tolomeo
Francesca Ascioti: mezzo-soprano | Cornelia
Katie Coventry: mezzo-soprano | Sesto, Pompeo
Riccardo Novaro: bass | Achilla
Artur Janda: bass-baritone | Curio
Rafał Tomkiewicz / Nickolas Tamagna: countertenors | Nireno
Festspiel Orchester Göttingen
Conducted by George Petrou
__
Oedipus Coloneus, 2022
I am so proud after watching that. I am lucky enough to watch live performance of this amazing greek Conductor, George Petrou!!!
holy shit.... this lute player is absolutely insane. My god
DESTACADISIMA PRODUCCION !!! ☺🎵
Meritevole interpretazione, meritevole.
Opera splendida. Grande.
Handel is great!
this production looks amazing! once I'm familiar with the libretto I'll come back and watch (i don't speak german :p)
O-oh, Italian language!🤗 Blessed the God! 🙏 How many nice music materials has been spoiled Händel with English text on libretto.😢
What a brilliant and refreshing production, full of surprises! At times it's like watching the movie “Mummy”. Nireno's aria with a touch of jazz was just wild and creative. Thank you for sharing this excellent production on CZcams all us all to enjoy. 🙏💖
Hi. :) I agree. The arrangement of that aria ts really funny. The same for In fiorito prato.
@@oedipuscoloneus190 sometimes it's good to do something out of the ordinary just for fun and making operas more easily approached to the general public. Purists of coz may disagree and frown upon it. As a Classical singer and opera myself, I have no problems with that.
@@wongfrancis for sure. And this musicians are serious. This opera is played so many times that do something different and with creativity its most welcome.
I saw the second show in Göttingen, the Nireno of Rafal Tomkiewicz was much much funnier. :) Also they lost all the lines of Nireno except the one aria sung by Tamagna. Too bad that the premiere was recorded. :(
@@noranemethmay I ask you why Nireno in this video seemed to be lip syncing his lines? Was he sick that night? I often wondered.....
25:15 The „L‘empio! - sleale! - indegno!“ from Nicholas Tamagna is definitely the best interpretation I have ever listened to! 😱
I find it to be honestly quite mediocre. Idk who asked him to add all of those grunts. I get it, but there are just too much of them. Tolomeo becomes merely a laughing than a scary vilain. Technically there is little to nothing with his singing, however the rest….
@@xdranzer0004maybe you want to show the world some work of your own? Would be delighted to hear you singing some Händel. Or do you only criticize without having any real talent or knowledge. Showing your advanced degree in music would also suffice…. 🤗
Me quedo con la Cleopatra de Danielle de niese ,con les arts flourissant
❤
Most operas have their moments of tedium. The comic touches in this production do alleviate them.
My history isn't the greatest, but I'm pretty sure Julius Cesar had balls.
so does that singer, unlike the original singer of this role, known as Senesino.
en.wikipedia.org/wiki/Senesino
02:42:03 03:13:15
29:01
33:18. (😮)
Just bookmarking😅
The latest production set in the Indian/British Raj is far better! IMHO but this is beautiful musicall oh my god Glyndebourne is the perfect place to hear Handel!
JONAS devait AVOIR
SON. SECRET
!!!!!❤!!!!!
2:53:05 Aure
2:41:10
borrows a lot from the Glyndebourne production, but it works
Better not mention the stage director"s name.
Disappointed by Mynenko’s projection. I remember the great recording of him as Megabise in Artaserse. This is not it…..
This production is all over the place with the props. Sesto has a revolver. So what's the time period supposed to be?
DIEU🌹🌿🇻🇦✝️🇻🇦🌿🌹 ACCUEILLEZ DÉSORMAIS DANS VOTRE PARADIS🔍🎶😇🧭,L'ÂME IMMENSÉMENT✒📃🎶🧸📚🍋💛 CHRÉTIENNE de Monsieur de HAENDEL 🧭🌹🎶✒📃📚🦁🎨💐🪢🎶🕯🔍⛑💮🎯🌿🌻🙋♂️!!!
Nice to know that furries already existed in Händel's time.
lol!
Händel probably wasn't into that
@@PM_ME_MESSIAEN_PICS Yeah, he'd be called Tätzel if he were.
(Händel = little hand, Tätzel = little paw)
@@desaturated-firefox And I always thought "Handel" meant "commerce/trade"!
@@kaloarepo288 It does, but the a vs. ä makes a big difference ;)
This is not just Handel's master-work of drama & music, it is one of a handful of the greatest operas ; unfortunately, in the case of this opera ... if there are not great singers who can take us back [ even just a little ] to 1724, there is no point !
Handel's masterpiece doesn't change ... the singers over the centuries have changed.
We are not getting the same vocal instruments as the extremely lucky audiences of that Baroque night.
The more we are reminded of that night ; the more we are reminded of the "singers" of today ... woe onto us for being born at the wrong f'ing time.
There is no time-travel !
There is no god !
We will never hear the magnificent Castratri or the female singers who stood next to the great male singers and could cause some Castratri to be vocally envious.
_WTGDMF‼️_
Yes, that's always going to be something of a problem with Händel because he generally employed some of the best singers in all Europe at the time. I suspect standards were much higher then than now, too. Also, he would tailor the music to a specific artist's strengths. This explains why there are sometimes a number of versions of the same aria etc. Even so, the music is so great it still manages to shine through unless the singer is really bad, which, unfortunately, is sometimes the case.
@user-bl5yi4uw6j :: You are absolutely right. I had forgotten how Handel tailored-made his music for the singers. I am overly-critical of the Baroque "singers" of today, but I don't mind so much if they are not as good as the 16th century-to the 18th century singers ... but when the marketing departments entitle the recordings :: "Arias of Farinelli, etc." ... we are not getting what is implied :: the arias are the arias he and other castratri performed, but they are not the same as the singers of that time actually sounded.
52:50 Cara speme
1:34:02 Se in fiorito ameno prato
2:12:45 Se pieta
Thank you Nora. I have to find some time to do the time marks of the operas. Take care. :)
PS: i love her voice. :)
Great music but directors continue to create what one can easily call stupid performances, just for the sake of being original.
Don't agree at all with respect this production, I think that it is surprisingly good and doesn't fall into the fatal trap of taking itself too seriously.
Wie soll der arme Zuschauer vereinen den gesungenen Text und die voellig schizophenische Inszenirung, bitte?
К сожалению, никто не блеснул. Вяло, скучно, обыденно. Не постановка оперы Генделя, а иллюстрация к постановке 2005 года Маквикара/Кристи.
Francesca Ascioti's appalling overacting is rather embarrassing.