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Handel Giulio Cesare Larmore, Schlick, Jacobs

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Handel Giulio Cesare Larmore, Schlick, Jacobs

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Name:Handel Giulio Cesare Larmore, Schlick, Jacobs

Total Size: 0.99 GB

Magnet: Magnet Link

Seeds: 0

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Stream: Watch Online @ Movie4u

Last Updated: 2010-11-07 13:12:09 (Update Now)

Torrent added: 2009-08-23 06:27:35




Torrent Files List


Torrent downloaded from Demonoid.com.txt (Size: 0.99 GB) (Files: 33)

 Torrent downloaded from Demonoid.com.txt

0.05 KB

 Libretto

  Spanish libretto.txt

109.69 KB

  Synopsis.txt

6.25 KB

  Handel.jp2

479.94 KB

  Italian libretto.pdf

348.06 KB

  Handel - Giulio Cesare - complete score for chorus and orchestra.pdf

3.45 MB

  French libretto.pdf

210.98 KB

  First Libretto Cover.tif

77.17 KB

  English libretto.pdf

185.16 KB

 Inlay.tif

31.87 KB

 Gramophone.pdf

23.33 KB

 Giulio Cesare in Egitto.txt

5.12 KB

 Front.jp2

500.14 KB

 CD4

  CDImage4.cue

0.57 KB

  CDImage4.ape

77.42 MB

 CD3

  CDImage3.cue

1.73 KB

  CDImage3.ape

301.85 MB

 CD2

  CDImage2.cue

1.54 KB

  CDImage2.ape

328.20 MB

 CD1

  Track 14.ape

20.94 MB

  Track 13.ape

21.16 MB

  Track 12.ape

22.60 MB

  Track 11.ape

25.62 MB

  Track 10.ape

18.88 MB

  Track 09.ape

21.29 MB

  Track 08.ape

16.39 MB

  Track 07.ape

23.40 MB

  Track 06.ape

28.78 MB

  Track 05.ape

25.75 MB

  Track 04.ape

23.84 MB

  Track 03.ape

26.50 MB

  Track 02.ape

7.52 MB

  Track 01.ape

14.26 MB
 

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Torrent description

Handel: Giulio Cesare / Jacobs, Concerto Köln

Release Date: 12/11/1992

Label: Harmonia Mundi
Catalog No: 901385
Spars Code: DDD

Composer: George Frideric Handel

Performers: Furio Zanasi, Jennifer Larmore, Bernarda Fink, Marianne Rorholm, Barbara Schlick, Dominique Visse, Derek Lee Ragin, Olivier Lallouette

Conductor: René Jacobs

Orchestra/Ensemble: Cologne Concerto Orchestra



When this set appeared it pushed all the other recorded versions of Giulio Cesare aside, and now, examining it again and even finding some things to argue with, it maintains that supreme position.

The opera is given complete and all the roles are sung in their original octaves (no bass-baritone Caesar, for instance). René Jacobs' tempos are ideal for each dramatic situation, and if the recitatives have a formality that slows them down somewhat, well, we are dealing with Caesar, Cleopatra, and very grand historic deeds. Both orchestra and singers embellish their written lines, and from this vantage point, those embellishments seem very tame - but they're still welcome, highly musical, and apt.

To this day, most of the cast could not be bettered. Cornelia's opening aria is so beautifully, heartbreakingly sung, that in a better world mezzo Bernarda Fink would have become an overnight sensation on the level of a Pavarotti. Marianne Rørholm's Sesto is energetic and has the correct combination of impetuousness and dignity, but her voice strikes me as slightly too light, even for this youngish man. Similarly, Barbara Schlick is a delightful Cleopatra and she sings with absolute assuredness, but if you compare her with, say, Beverly Sills (on RCA), you don't get a complete picture of this complicated woman. Handel gives Cleopatra eight arias, covering joy, flirtatiousness, tragedy, deception, straightforwardness, etc.; the role is as rich as Isolde. With Sills, even despite her sometimes wild over-embellishments, you get every facet; Schlick misses the sheer depth of Cleopatra's complexity. It's a minor complaint given how glorious Schlick's singing is, but it must be addressed.

No such criticisms are possible about Jennifer Larmore's Cesare. The voice is as solid as a rock, her coloratura is staggering in its accuracy, and the dark, masculine sound she effects for the role is uncannily right. She can be aggressive, she can be love-smitten. In the accompanied recitative when she contemplates Pompey's ashes, her depth of feeling is palpable, her soul troubled. It's a great performance. The smaller roles are equally well-taken, with Derek Lee Ragin's effete-yet-dangerous Ptolomy particularly striking. In short, while Beverly Sills' Cleopatra is an unequalled treasure, Jacobs' cast and interpretive outlook turn the opera into the drama it should be, and no one who cares about Baroque opera should do without this set.


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