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CHAN 0719M
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CHAN 0719
(multiple CD Set)
Partenope

Handel: Partenope

The Classical Shop
release date: May 2005

Recorded in 24 Bit / 96Khz
album available as a Studio Master
Originally recorded in 2004

Artists:

Early Opera Company


Christian Curnyn


Andrew Foster-Williams

bass-baritone - Ormonte

Hilary Summers

contralto - Rosmira

Stephen Wallace

counter-tenor - Armindo

Lawrence Zazzo

counter-tenor - Arsace

Rosemary Joshua

soprano - Partenope

Kurt Streit

tenor - Emilio

Venue:

All Saints Church, East Finchley, London



Producer:

Nicholas Anderson



Engineer:

Jonathan Cooper


Michael Common

(Assistant)

John Benton

(Assistant)

Record Label
Chaconne

Genre:

Opera


Early Music

Total Time - 190:03
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Partenope

   
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GEORGE FRIDERIC HANDEL

(1685-1759)
   
 

Partenope

190:15  
  An opera in three acts  
  Based on a libretto by Silvio Stampiglia  
  Edited by Clifford Bartlett  
1 Ouverture 6:32
   
  Act I  
  Scene I  
2 'Tu dell' eccelse Mura' 0:41
  Partenope  
3 No. 1. 'Viva viva Partenope viva' - 1:19
  Chorus  
  'Miei Fidi arride il Cielo'  
  Partenope  
   
  Scene II  
4 'Arsace' 1:22
  Armindo, Arsace, Partenope, Rosmira  
   
  Scene III  
5 'Regina, in folte Schiere' 0:41
  Ormonte, Arsace, Armindo, Partenope, Rosmira  
6 'No. 2. 'L' Amore ed il Destin' 3:04
  Partenope  
7 No. 3. 'O Eurimene hà l' idea di Rosmira' 2:31
  Arsace  
   
  Scene IV  
8 'Cavalier, se gli Dei' 1:19
  Rosmira, Armindo  
9 No. 4. 'Se non ti sai spiegar' 4:02
  Rosmira  
10 'Armindo ardisci e prova' 0:15
  Armindo  
11 No. 5. 'Voglio dire al mio tesoro' 4:50
  Armindo  
   
  Scene V  
12 'Ah! ch' un volto fatal mi dà gran pena!' 2:02
  Arsace, Rosmira  
13 No. 6. 'Un altra volta ancor' 2:48
  Rosmira  
14 'Rosmira, oh! Dio! Rosmira' 0:18
  Arsace  
15 No. 7. 'Sento Amor con novi Dardi' 5:39
  Arsace  
   
  Scene VI  
16 'Stan pronti i miei Guerrieri a stringer l' armi?' 0:32
  Partenope, Ormonte  
17 No. 8. 'T' appresta forse amore' 4:09
  Ormonte  
   
  Scene VII  
18 'Signora' 1:23
  Armindo, Partenope  
   
  Scene VIII  
  'E di che reo son Io?' -  
  Arsace, Partenope  
19 No. 9. 'Per te moro' - 0:49
  Arsace, Partenope  
  'Taci, basta'  
  Arsace, Partenope  
   
  Scene IX  
20 'E se giunge Eurimene?' 2:17
  Partenope, Arsace, Rosmira  
21 No. 10. 'Sei mia gioja, sei mio bene' 3:29
  Partenope  
22 'I novelli amor tuoi' 0:28
  Rosmira, Arsace  
23 No. 11. 'Dimmi pietoso Ciel' 4:23
  Arsace  
   
  Scene X  
24 'Ecco Emilio' 2:05
  Ormonte, Emilio, Partenope, Armindo, Rosmira, Arsace  
25 No. 12. 'Anch' Io pugnar saprò' 3:33
  Emilio  
   
  Scene XI  
26 'Arsace, tu sarai' 1:07
  Partenope, Armindo, Rosmira, Arsace, Ormonte  
27 No. 13. 'Io ti levo l' Impero dell' Armi' 6:20
  Partenope  
   
  Scene XII  
28 'Lascia deh! lascia, o Prence' 0:43
  Arsace, Rosmira, Armindo  
29 No. 14. 'È figlio il mio timore' 3:23
  Arsace  
   
  Scene XIII  
30 'Prence, di te mi lagno' 0:40
  Armindo, Rosmira  
31 No. 15. 'Io seguo sol fiero' 5:09
  Rosmira  
   
  Act II  
  Scene I  
32 No. 16. [Sinfonia] 0:43
33 'Forti mie Schiere, alla vicina Impresa' 0:24
  Emilio  
34 No. 17. Marche 1:00
35 'Ma le nemiche Squadre' 0:26
  Emilio, Partenope  
36 No. 18. 'Con valorosa mano' 1:06
  Emilio, Partenope, All  
37 'Soccorso' 0:18
  Partenope, Armindo  
38 No. 19. Sinfonia 0:43
39 'Renditi, o pure estinto' 1:14
  Emilio, Arsace, Rosmira, Partenope, Ormonte  
40 No. 20. 'Vi circondi la Gloria d' Allori' 1:38
  Partenope, Arsace, Armindo, Rosmira, Ormonte  
   
  Scene II  
41 No. 21. 'Contro un pudico Amor cotanto sdegno' 0:48
  Emilio  
42 No. 22. 'Barbaro Fato sì' 4:51
  Emilio  
   
  Scene III  
43 No. 23. 'Care Mura in si bel giorno' 1:42
  Partenope  
44 'Emilio!' 2:36
  Partenope, Emilio, Rosmira, Arsace, Ormonte, Armindo  
45 No. 24. 'Voglio amare insin ch' Io moro' 6:24
  Partenope  
   
  Scene IV  
46 'Ti bramo Amico, e teco' 0:27
  Arsace, Emilio, Armindo, Rosmira  
47 No. 25. 'E vuoi con dure tempre' 3:09
  Arsace, Rosmira  
   
  Scene V  
48 'Non può darsi in un petto' 1:58
  Emilio, Armindo, Rosmira  
49 No. 26. 'Furie son dell' Alma mia' 3:54
  Rosmira  
   
  Scene VI  
50 'A prò di chi t' offese' 1:15
  Partenope, Arsace  
51 No. 27. 'Porterti dir vorrei' 4:03
  Arsace  
   
  Scene VII  
52 'Regina' 1:17
  Armindo, Partenope  
53 No. 28. 'Non chiedo o luci vaghe' 3:06
  Armindo  
54 'Più d' ogn' altro sarebbe' 0:18
  Partenope  
55 No. 29. 'Qual Farfalletta' 6:14
  Partenope  
   
  Scene VIII  
56 'Quanto godo Eurimene' 1:04
  Armindo, Rosmira  
   
  Scene IX  
57 'Rosmira mia, mio bene!' 0:43
  Arsace, Rosmira  
58 No. 30. 'Furibondo spira il vento' 4:23
  Arsace  
   
  ACT III  
  Scene I  
59 No. 31. Sinfonia 0:39
60 'Regina ti compiace' 0:41
  Armindo, Partenope, Arsace, Emilio  
61 No. 32. 'Non è incauto il mio consiglio' 1:36
  Armindo, Emilio, Arsace, Partenope  
   
  Scene II  
62 'Partenope, Eurimene' 1:45
  Rosmira, Partenope, Arsace, Armindo, Emilio  
63 No. 33. 'Arsace, oh Dio! così' 1:06
  Rosmira  
64 'Chi m' apre i lumi, e che mi scioglie il Core?' 0:28
  Partenope, Emilio, Armindo  
65 'No. 34. 'Spera e godi o mio Tesoro' 3:23
  Partenope  
   
  Scene III  
66 'Prencipe ardir' 1:06
  Emilio, Armindo, Rosmira, Arsace  
67 No. 35. 'La Spence ti consoli' 4:22
  Emilio  
   
  Scene IV  
68 'Rosmira, ove ti guida' 1:37
  Arsace, Rosmira  
69 No. 36. 'Ch' Io parta? sì crudele' 4:15
  Arsace  
70 'Oh Dio! perchè dal petto' 0:23
  Rosmira  
71 No. 37. 'Quel volto mi piace' 3:07
  Rosmira  
   
  Scene V  
72 'Ormonte; ti destino' 0:52
  Partenope, Ormonte, Armindo  
73 No. 38. 'Nobil Core, che ben ama' 3:44
  Armindo  
   
  Scene VI  
74 'Non chiedo, oh miei tormenti!' 0:34
  Arsace  
75 No. 39. 'Ma quai note di mesti lamenti' 2:50
  Arsace  
   
  Scene VII  
76 No. 40. 'Cieli che miro! 0:49
  Rosmira  
   
  Scene VIII  
77 '(Ma Partenope vien; finger degg' Io)' 1:19
  Rosmira, Partenope, Arsace  
78 No. 41. 'Un Cor infedele' 2:58
  Partenope, Arsace, Rosmira  
79 'Passo di duolo in duolo' 0:13
  Arsace  
80 No. 42. 'Fatto è Amor un Dido d' Inferno' 3:03
  Arsace  
   
  Scene IX  
81 'Di bel Desire avvampo' 0:23
  Emilio, Armindo  
82 No. 43. 'La Gloria in nobil alma' 4:43
  Emilio  
83 No. 44. Sinfonia 0:39
   
  The last Scene  
84 'Regina, in queste arene' 3:44
  Ormonte, Partenope, Emilio, Rosmira, Armindo, Arsace  
85 No. 45. 'Sì scherza sì' 4:04
  Partenope  
86 'Armindo sia mio Sposo' 0:29
  Partenope, Armindo, Arsace, Rosmira  
87 No. 46. 'D' Imeneo le belle Sede' 1:34
  Chorus  
   
 Rosemary Joshua soprano - Partenope
 Kurt Streit tenor - Emilio
 Stephen Wallace counter-tenor - Armindo
 Andrew Foster-Williams bass-baritone - Ormonte
 Hilary Summers contralto - Rosmira
 Lawrence Zazzo counter-tenor - Arsace
 Christian Curnyn
  15-19 November 2004  
Partenope ranks among the best of Handel’s London operas. Its music is consistently fresh, with memorable tunes and an engaging storyline. It is therefore surprising that the work has been so neglected in the recorded catalogue. The Early Opera Company hopes to rectify this state of affairs, with this stylish performance. The Company, stable to some of the UK’s best young Handelian singers, is rapidly establishing itself as one of the best purveyors of Handel in this country. They are a group to watch: they have taken the Early Music world by storm with their energetic and captivating performances, at some of the UK’s top venues – reviews for which can be seen below.

This is a recording of the original version of Partenope, as it was performed at its premiere in 1730.

In Summer 2005 the Early Opera Company will tour a new production of Handel’s Flavio. Dates include 30 June (The Anvil, Basingstoke), 6 July (QEH, London), 7 July (Lichfield Garrick) and
9–16 July (Iford Festival).


"The plot of Partenope is simple but offers plenty of scope for emotional intensity, insightful characterisation, wit, sexual innuendo, and profound despair. Partenope is the Queen of the newly founded city Naples, and she is loved by three suitors: Emilio, Armindo and Arsace. Emilio is the military-minded leader of a neighbouring kingdom, and wishes to command Partenope to love him. Partenope is indifferent to Emilio, and though she is fond of Armindo, Arsace is her chosen favourite. However, Arsace was previously betrothed to Princess Rosmira, who turns up at court disguised as a man, ‘Eurimene’.Arsace recognises her and becomes confused about which woman he loves. He privately confronts Rosmira and she forces him to swear, on pain of her revealing his infidelity, that he will keep her identity secret.T hroughout the rest of the opera, Rosmira wreaks her chaotic revenge on him.

The story of Partenope was set many times during the early eighteenth century, and it is likely that Handel attended a performance of Antonio Caldara’s Partenope while he was at the Venice Carnival in 1708.The music of this opera is now lost but its libretto was certainly the model which Handel chose for his own setting over two decades later, despite his familiarity with at least two more recent adaptations including Leonardo Vinci’s La Rosmira fedele.The work had appealed to Handel’s dramatic instinct and musical imagination. He had wanted to produce his own version of it in 1726, but the Royal Academy rejected his proposal – probably because of the opera’s irreverent treatment of the serious style, which it had struggled to establish in London: in Partenope the leading man,Arsace, is neither virtuous nor evil, but weak and morally flawed, and he struggles to earn forgiveness from Rosmira, a cross-dresser obsessed with revenge. Handel assumed artistic control of the Academy in 1729, and it cannot be coincidence that he composed Partenope, arguably one of the finest librettos he ever set, so shortly afterwards.
"

The cast has no weak links, and Curnyn directs a performance devoid of the mannerisms and quirks of some Handelians
The Sunday Times

… Christian Curnyn has as infallible a sense of tempo and musico-dramatic shape… as the composer himself.The orchestral playing is light-fingered, colourful and sprightly, and the company commands a roster of the best singers among the younger generation of Handelians.
The Times

Handel collectors needn’t hesitate
Guardian

Listening to these discs has reminded me of full of enchanting music ‘Paretnope’ is…. In sum, then, if you have the Kuijken set, you don’t need to throw it away, but anyone new to this delightful opera should give the Chandos set – in state-of-the-art sound – a try. Die-hard Handelians, of course, will want both.
International Record Review

Handel’s 1730 opera is a genial and light-hearted affair that tells of Queen Partenope’s struggle to choose between three suitors. Rosemary Joshua gives a warm, intelligent and beautifully characterised account of the title role (her aria ‘Spera e godi’, in which she speaks of two lovers in turn is a triumph). The rest of the singing is all good, and Curnyn’s direction is lively and well-paced.
Classic FM

Christian Curnyn, our most original Handelian, directed the small band with his usual intense concentration and a sense of style and pacing.
The Times on their performance of Handel’s Amadigi at the Iford Festival

All in all it was a superb musical performance and a tantalising glimpse of an alternative approach to baroque opera.”
"Andante.com on the Company’s performance of Handel’s Partenope at Covent Garden, Buxton and Aldeburgh."

Christian Curnyn conducts a highly competent performance thoroughly in the groove of modern Handelian style, with a cast that has no vocal weaknesses and many dramatic virtues.
Gramophone

The singers are generally excellent: Rosemary Joshua deploys vocal beauty to advantage in her portrayal of the charismatic Queen of Naples, Hilary Summers’s powerful contralto is ideal for the vengeful but ultimately forgiving Rosmira, and Lawrence Zazzo has the virtuosity and emotional range to make the best of the penitent Arsace, contrasting with the soft-grained countertenor of Stephen Wallace as Armindo, the modest prince who finally gain’s Partenope’s affection.
Early Music Review



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