Vivica Genaux, "Hence, Iris, hence away", Semele, Handel
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- čas přidán 25. 09. 2010
- Vivica Genaux as Juno and Jaël Azzaretti as Iris sing the recitativo accompagnato "No more, I'll hear no more" and then Vivica sings the aria "Hence, Iris, hence away" in act II of Semele, oratorio from Handel.
Les Talens Lyriques, Christophe Rousset.
Paris, Théâtre des Champs-Elysées, July 2 2010. - Hudba
That stormy cluster of strings and harpsichord that starts at 1:34 is just sick. Handel was such a rockstar.
Wow
Perfect diction and of course Vivica's chocolate tones are perfect for the vengeful Juno - superb! Brava!
Her trills are so exquisite and vibrant, and the voice is so rich in color.
I am afraid there not a single trill in this aria... I may however agree that the performance is thrilling :-)
*_We are so use to singers who under-perform trills, we "think" we hear them when there are none._*
@Nathaniel Walker Dear sir, I am not sure what you actually consider to be a trill, given that its definition in our time corresponds to a large variety of ornamentation figures in Handel's time under the names of mordent, tremblement, cadence, all of them simple, appuyé or pincé (the commonly used French names are derived from the early classifications by most XVII cent. French harpsichordists in their Tables des Agrements and directly transferred to vocal music). Unfortunately, after a quick look at the score (Haendel Gesellschaft Edition, after the autograph, is available on the internet) it can be easily seen that it not only bears no ornamentation marks, but has a number of tierces coulées (all of them fully written out) in both the A and the B section, which, at an untrained ear, can be mistaken by a modern trill. And Genaux carefully follows the vocal part as in the score in part A and in part B, except for an elaborate cadenza in part B. What Genaux elegantly adds in the repeat of part A, under the suggestion of my friend Christophe, here conducting, is more tierces coulées and a number of roulades, the roulades being a fill of the gap between consecutive notes at distant intervals. The cadenzas at the end of both parts A and B, where usually a "trill" can be added, are here provided of simple grace notes, as the fast tempo does not allow for a more extended ornament.
Just my favorite version of this ultra famous aria! The articulation of the orchestra is amazing! so powerful rythm that makes it even seems new
Best version on CZcams so far, wonder why in general records from 80-90s of all Handel pieces were sung in a low speed. Just so much more emotion in this version
I love that picture of Genaux. She looks amazing, and as always sounds wonderful.
Изумительное исполнение арии! Сколько ярких красок в голосе! Спасибо за доставленное удовольствие!
up to now, it's the best version of this aria vocally as much as tempo of the music.
She is a phenomenal singer. Just remember, this is LIVE!! So many others cited here are from commercial recordings.
I think this is my favorite version of this aria. It's rather grisly (like it should be).
Роскошное исполнение! Госпожа Жено обладает не только очень красивым голосом, но и превосходным чувством стиля.
BRAVA VIVICA
La mejor Juno que encontramos en youtube, no?
1:59 - The aria
Hence, Iris, hence away,
Far from the realms of day!
O'er Scythian hills to the Maeotian lake
A speedy flight we'll take!
There Somnus I'll compel
His downy bed to leave, and silent cell;
With noise and light I will his peace molest,
Nor shall he sink again to pleasing rest,
Till to my vow'd revenge he grants supplies,
And seals with sleep the wakeful dragons' eyes.
Awake, Saturnia, from thy lethargy!
Seize, destroy the cursed Semele!
Scale proud Cithaeron's top,
Snatch her, tear her in thy fury,
And down to the flood of Acheron
Let her fall, let her fall, fall, fall,
Rolling down the depths of night,
Never more to behold the light.
If I th'imperial scepter sway, I swear
By hell!
(Tremble, thou universe, this oath to hear!)
Not one of curst Agenor's race to spare.
Most oratorios _were_ acted out, though. At least, they had lavish sceneries etc. The only difference between oratorio and opera before the 19th century is the theme which allowed the audience to anticipate what would be the subjects. Semele was a commercial failure at the time mostly because it is not a religious topic but rather simply an opera in English, which the public wasn't expecting. Handel corrected it with his next "oratorio" - Esther. Both were acted out just like an opera.
Handel had just recently been forbidden from composing and more importantly mounting operas, so he had recourse to the oratorio. But on top of that Semele was a veiled criticism of ambition of the King's mistress. That did not help its success! People were afraid of displeasing the King by going to hear it.
Personally I was getting sick of always hearing opera in Italian anwyays. Semele is a gem in the Baroque repertoire precisely because the English language allows for different rhythms.... besides, it's not an Opera, it's an Oratorio and never intended to be acted.
Semele is a secular musical drama and has elements of opera and oratorio (Polyphonic Choruses). Actually, it is an opera disguised as "oratorio". It can be acted without problems. It looks nothing like Handel's biblical oratorios like Messiah or Israel in Egypt.
And how dare YOU speak to me like that!! You've been discussing Melba, Tetrazzini, Galli-Curci et. al with me all this time - HAVE YOU SEEN *THEM* IN LIVE PERFORMANCE TOO, over the course of your many years "as an experienced opera and concert goer"?? I can't believe I wasted all these days talking to you. I will NEVER speak to you again after what you just told me.......you and Sardus Orpheus can drool over Horne together all you want!! SO LONG!
thats you in the spotlight - losing your mind . hows about me , mister - what kind of fool do i have to present as to make you feel like you and i are equals . we always have been and guess what - i would probably eat some of your healed toast - Dr. Sexy . ( with the big butt ) .
They say children should be seen and not heard... there are enough instances in opera when singers should be heard and NOT seen!
¡El inglés no sirve para la ópera! Sólo las lenguas romances son aptas para tan grande arte.
Que comentario tan absurdo. El inglés está perfecto, además es Handel, el mejor compositor de operas de su tiempo y Semele es una obra maestra. Mezcla de opera, oratorio y drama musical, que puede ser representada en forma concierto o escenificada.
@MisterPapageno And what a shame for the English language is Misterpapageno.
1.) I don't bother to keep track of the "discography" of pieces that I LOOK DOWN UPON.
2.) I have taken singing classes in a number of different countries, and I know the owners of Glynebourne Opera House, so DON'T YOU DARE talk to me like that again!! You're just a POMPOUS OLD PERSON, just like your precious Mariyn Horne!!
3.) Talk about the pot calling the kettle black. YOU'RE the one who said that Ms. Genaux sings like a beaver. Is that a musical-based opinion? Do beavers sing??
Whatever your private feuds, late Marilyn Horne deserves your respect as a great performer, and for all who met her, or are actually documented, she was a most warm-hearted person and the best of friends, as well as a very professional person.
And by the way, a person's PHYSICAL APPEARANCE *MATTERS* in the art of Opera, because it's an AUDIO-VISUAL MEDIUM. Opera is not about listening to records. It's about *SEEING* a person *VISUALLY ENACT* a role WHILE singing!! Hence, ALL comments about an opera singer's physique ARE *AS* VALID as any comments about their vocal delivery.............this is a very simple concept known by even a VERY YOUNG CHILD watching opera!!!!!!!!!!!!!!!!!!!!!!!!!!!!
I never thought Horne's voice was superior to other mezzo sopranos.
Plus, a VOICE in isolation does not make a fine singer.
But opera was always supposed to be SEEN *AND* HEARD. :) I hate it when some people get on CZcams and just start listening to various uploads of recordings with their eyes closed in an armchair, and cosily start touting whoever that titillates them in their living room, drawing room or bedroom, without even taking a MOMENT to consider how effectively those performers could PHYSICALLY DELINEATE their characters on a stage - before an audience that can hear them AND see them!!
Don't like all the wide vibrato and heavy chesty voice. I prefer Horne, Larmore, & Blythe, also Helen Watts on a very early recording.
Marilyn Horne's version of this aria is laughable. She can't even sing the correct vowel sounds; going "re - aaaaaaa - elms" for 'realms, and "rev - aaaaaaa - enge" for 'revenge', which put me off her performance completely!! Ugh.
And to add insult to injury at the very end of the aria, Horne just sings "a flight we'll take", as opposed to "a SPEEDY flight we'll take", thereby rendering the effect of Congreve's words NULL AND VOID.
Horne also has nothing on Vivica's DRAMATIC SUPREMACY!
Those drawing room opera/oratorio 'lovers' are apparently too stupid to realize that recordings weren't even MADE until the tail end of the 19th century, and that for SEVERAL *CENTURIES* up until that point, one had to *SEE* singers perform IN THE FLESH. How *RIDICULOUS* does the plump Marilyn Horne look as the ingénue Rosina in 'Il Barbiere di Siviglia', or as the seductive Carmen (arguably the most famous of all mezzo roles!), or the femme fatale Dalila in 'Samson et Dalila'??
A nasty inaccurate comment
Hence, Vivica, hence away with this ugly fake-sound and wrong colorature ...!
If Rosina, Carmen and Dalila looked like Marilyn Horne, the paramours in their respective stories - Count Almaviva/Lindoro, Don Jose, Escamillo and Samson - would have *RUN IN THE OPPOSITE DIRECTION* without serenading them or fighting tooth and nail for them. Horne looks like a *JOKE* in those celebrated mezzo roles - A BIG, FAT JOKE - literally!! And I can say that boldly because the way a performer/singer LOOKS counts for 50% in the AUDIO-VISUAL media of opera, oratorio, or even concerts. :)
*_You're not a fan of opera & great singers w / great voices._*
*_Forgive me, but maybe you should go to Fashion-Shows instead of the opera ?_*