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█▀ george frideric handel (fabio bonizzoni) - aminta ▀█
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▄▄▄▄▄▄▄█████▓░ ▄▄██▓▀▀ ;.. General infos ..; ▀▀▓██▄▄ ░▓█████▄▄▄▄▄▄▄
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▀▀███ ▓ Type ........: album ▓ ███▀▀
▀ ██ ░ Music Style .: opera ░ ██ ▀
▄ ▐█ Release.Date : 2009-08-22 █▌ ▄
▀▓▀ ▐█ Release.Size : 80,9 MB █▌ ▀▓▀
█ Playtime ....: 66:59 min █
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█████ ▀ █ Label..:.....: MusiContact - Glossa █ ▀ █████
███▓░ █ Source ......: cdda █ ░▓███
██▓░ █ Tracks ......: 30 █ ░▓██
██▓░ █ Bitrate......: vbr. 164kbps █ ░▓██
███▓░ █ Frequency....: 44,1kHz █ ░▓███
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▀ ..;.TracKList.;.. ▀
01 ::: aminta e fillide, hwv 83 - sinfonia ::: 02:28
& recitativo. arresta il passo
02 ::: aminta e fillide, hwv 83 - aria. ::: 03:27
fermati, non fuggir!
03 ::: aminta e fillide, hwv 83 - ::: 00:43
recitativo. questa sol volta almen
04 ::: aminta e fillide, hwv 83 - aria. ::: 04:50
fiamma bella ch'al ciel s'invia
05 ::: aminta e fillide, hwv 83 - ::: 00:33
recitativo. credi a'miei detti, amint
06 ::: aminta e fillide, hwv 83 - aria. ::: 03:17
forse ch'un giorno
07 ::: aminta e fillide, hwv 83 - ::: 01:17
recitativo. invano, invan presumi
08 ::: aminta e fillide, hwv 83 - aria. fu ::: 05:22
scherzo, fu gioco
09 ::: aminta e fillide, hwv 83 - ::: 01:22
recitativo. libero piΦ funga dal lacc
10 ::: aminta e fillide, hwv 83 - aria. se ::: 02:55
vago rio
11 ::: aminta e fillide, hwv 83 - ::: 00:24
recitativo. d'un incognito foco
12 ::: aminta e fillide, hwv 83 - aria. ::: 04:15
sento ch'il dio bambin
13 ::: aminta e fillide, hwv 83 - ::: 00:14
recitativo. felicissimo punto, in cui
14 ::: aminta e fillide, hwv 83 - aria. al ::: 05:02
dispetto di sorte crudele
15 ::: aminta e fillide, hwv 83 - ::: 00:42
recitativo. vincesti, aminta, e l'amo
16 ::: aminta e fillide, hwv 83 - aria. ╚ ::: 02:38
un foco quel d'amore
17 ::: aminta e fillide, hwv 83 - ::: 00:45
recitativo. gloria bella d'aminta
18 ::: aminta e fillide, hwv 83 - aria. ::: 03:01
chi ben ama non paventi
19 ::: aminta e fillide, hwv 83 - ::: 00:29
recitativo. e pur, filli vezzosa
20 ::: aminta e fillide, hwv 83 - aria. ::: 05:08
non si pu≥ dar un cor
21 ::: aminta e fillide, hwv 83 - ::: 00:17
recitativo. o felice in amor dolce to
22 ::: aminta e fillide, hwv 83 - duetto. ::: 05:01
per abbattere il rigore
23 ::: clori, mia bella clori, hwv 92 - ::: 00:47
recitativo. clori, mia bella clori
24 ::: clori, mia bella clori, hwv 92 - ::: 03:20
aria. chiari lumi, voi che siete
25 ::: clori, mia bella clori, hwv 92 - ::: 00:36
recitativo. temo, ma pure io spero
26 ::: clori, mia bella clori, hwv 92 - ::: 02:08
aria. ne'gigli e nelle rose
27 ::: clori, mia bella clori, hwv 92 - ::: 00:25
recitativo. non Φ per≥ che non molest
28 ::: clori, mia bella clori, hwv 92 - ::: 02:38
aria. mie pupille
29 ::: clori, mia bella clori, hwv 92 - ::: 00:24
recitativo. tu, nobil alma, intanto
30 ::: clori, mia bella clori, hwv 92 - ::: 02:31
aria. di gelosia il timore
Total ::: 66:59
░ ..;Release Notes;.. ░
░ The 'Eternal City' was unlike any other ░
░ in the world at the beginning of the 18th ░
░ Century. A population of fewer than ░
░ 20,000 people lived amid the overbearing ░
░ ruins of the ancient Rome, with its ░
░ 4,000,000 ghosts. Built into and ░
░ sometimes from the marble of ancient Rome ░
░ were the baroque palaces of the princes ░
░ of the catholic Church, buildings of ░
░ unrivaled opulence and extravagance, ░
░ together with the conventual fortresses ░
░ of the cloistered nuns and monks who made ░
░ up at least half of the total populace. ░
░ The highest rungs of the social pyramid ░
░ were occupied by the aristocratic ░
░ families that supplied the majority of ░
░ the Cardinals and Papal Ministers who ░
░ ruled both the splendor and the ░
░ stagnation of Rome. These were the ░
░ patrons for whom Scarlatti, Corelli, and ░
░ others wrote their sacred oratorios and ░
░ their secular cantatas. ░
░ ░
░ Many of the most aesthetically sensitive ░
░ aristocrats of wealth and of the Church ░
░ were banded together in the great ░
░ Arcadian Academy, essentially the ░
░ overwrought apotheosis of the devotional ░
░ confraternities organized in the ░
░ Counter-reformation era by Philip Neri ░
░ and other intellectual mystics. The ░
░ Arcadian Academy assembled in the private ░
░ parks and gardens of the city to discuss ░
░ the nature of Love - the essential unity ░
░ of Eros/Cupid with the Divine Bambino ░
░ Jesus - and to 'appreciate' the ░
░ commissioned music of the finest ░
░ composers of the catholic world. One such ░
░ composer, the young "Saxon" Georg ░
░ Friedrich HΣndel, soon became a favorite. ░
░ The two large-scale pastoral cantatas ░
░ recorded here were commissioned by the ░
░ Marquis Ruspoli, brother of a Cardinal, ░
░ perhaps for the midsummer Christmas ░
░ festivities of the Arcadian Academy. ░
░ ░
░ There's little doubt that the ambience of ░
░ the Arcadian Academic was homo-erotically ░
░ charged. The pastoral poetry is laden ░
░ with secret messages and mystical ░
░ 'affinities.' The lengthy notes that ░
░ accompany this CD discretely open the ░
░ curtains on the question of Handel's ░
░ sexuality, a question that I find of no ░
░ importance whatsoever for the ░
░ appreciation of his music, but of some ░
░ historical interest in grappling with the ░
░ otherwise inexplicable persistence of the ░
░ vogue for 'arcadian' pastoral imagery ░
░ throughout the 18th C. No doubt the ░
░ rosy-faced young Saxon provoked a variety ░
░ of admirations in that utterly rarified ░
░ world of spiritual intensity and sensual ░
░ depravity. ░
░ ░
░ One abiding image of the ripest pastoral ░
░ eroticism was the "bella ostinata", the ░
░ reluctant Beauty ever in flight from an ░
░ importunate lover. The archetype was on ░
░ display in Rome; the exuberant Bernini ░
░ sculpture of Daphne fleeing the embraces ░
░ of Apollo. Handel's duet cantata Aminta e ░
░ Fillide tells a similar story; Fillide ░
░ flees from Aminta, but Aminta sings to ░
░ her so fervently that she yields. The two ░
░ roles were originally sung by women of ░
░ the Ruspoli household rather than the ░
░ usual castrati, causing something of a ░
░ scandal (and does the popularity of ░
░ castrati seem slightly more explicable ░
░ once you consider the identity of its ░
░ patrons?); on this dazzling recording by ░
░ La Risonanza, they are sung by Maria ░
░ Grazia Schiavo and Nuria Rial, whose ░
░ skills must be equal to anything Handel ░
░ himself heard, judging by the fluency ░
░ with which they perform his most ░
░ intricate passages. Even in his Roman ░
░ youth, Handel was quick to appropriate ░
░ musical ideas and melodies from other ░
░ composers. In Aminta, he borrowed from ░
░ his Hamburg colleague Reinhard Keiser, ░
░ and he built entire arias around melodies ░
░ of Venetian and South Italian dances. ░
░ Fillide's first aria, Fiamma bella, is a ░
░ charming lΣndler waltz, quite a surprise ░
░ in a work from the first decade of the ░
░ 18th Century. The pastoral aura of Amita ░
░ e Fillide is more convincingly expressive ░
░ of rustic joys than any other cantata I'm ░
░ familiar with. ░
░ ░
░ The sparkling violin obbligatos and the ░
░ elegant continuo realization of La ░
░ Risonanza is also as good as you'll ever ░
░ hear. ░
░ ░
░ Handel knew what jewels of melody he'd ░
░ included in these Italian cantatas, and ░
░ he raided his own treasure chest ░
░ repeatedly to fill out his later operas ░
░ and oratorios in England. With this ░
░ recording, and with the earlier three ░
░ volumes of their massive project of ░
░ performing all of Handel's Italian ░
░ cantatas, La Risonanza is proving one and ░
░ forever that the Roman Handel, even if ░
░ he'd perished in a shipwreck before ever ░
░ setting foot in England, was already one ░
░ of the greatest composers of the greatest ░
░ century of music. ░
░ ░
░ ░
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