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NU 6165
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NU 6165
(this is a multiple CD album sold separately)

HANDEL: Rinaldo

The Classical Shop
release date: November 2008

Originally recorded in 2006


Kevin Mallon

Sean Watson


Marion Newman


Jennifer Ens Modolo


Kimberley Barber


Barbara Hannigan


Laura Whalen


Record Label



Total Time - 179:49
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HANDEL: Rinaldo




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Rinaldo, HWV 7a

1 Act I: Overture 5:33
2 Act I Scene 1: Recitative: Delle nostre fatiche - Aria: Sovra balze scoscese e pungenti (Goffredo) 4:44
3 Act I Scene 1: Recitative: Signor, gia dal tuo senno (Rinaldo, Goffredo, Almirena) 2:01
4 Act I Scene 1: Aria: Combatti da forte (Almirena) 3:55
5 Act I Scene 1: Recitative: Questi saggi consigli (Eustazio, Rinaldo) - Aria: Ogn'indugio d'un amante (Rinaldo) 4:11
6 Act I Scene 2: Recitative: Signor, che delle stelle (Araldo, Goffredo, Eustazio) - Aria: Sulla ruota di fortuna (Eustazio) 3:50
7 Act I Scene 3: Aria: Sibillar gli angui d'Aletto (Argante) 4:40
8 Act I Scene 3: Recitative: Goffredo, se t’arrise (Argante, Goffredo) - Aria: No, no, che quest'alma (Goffredo) 3:38
9 Act I Scene 4: Recitative: Infra dubbi di Marte - Aria: Vieni o cara, a consolarmi (Argante) 4:10
10 Act I Scene 5: Aria: Furie terribili (Armida) - Recitative and Accompagnato: Come a tempo giungesti, cara (Argante, Armida) 3:40
11 Act I Scene 5: Aria: Molto voglio, molto spero (Armida) 2:58
12 Act I Scene 6: Aria: Augelletti che cantate (Almirena) 4:54
13 Act I Scene 6: Recitative: Adorato mio sposo - Duet: Scherzano sul tuo volto (Almirena, Rinaldo) 5:03
14 Act I Scene 7: Recitative: Al valor del mio brando (Armida, Almirena, Rinaldo) - Prelude 1:17
15 Act I Scene 7: Aria: Cara sposa, amante cara, dove sei? (Rinaldo) 10:29
16 Act I Scene 8: Recitative: Ch’insolito stupore - Aria: Cor ingrato - Recitative: Io all’ora impugno (Rinaldo, Goffredo, Eustazio) 5:12
17 Act I Scene 8: Aria: Col valor, colla virtu (Eustazio) 3:51
18 Act I Scene 9: Recitative: Di speranza un bel raggio - Aria: Venti, turbini, prestate le vostre ali a questo pie (Rinaldo) 4:41

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1 Act II Scene 1: Aria: Siam prossimi al porto (Eustazio) 5:33
2 Act II Scene 2: Recitative: A quel sasso bramato (Rinaldo, Goffredo, Eustazio) - Scene 3: Recitative: Per raccor d'Almirena (Donna) 1:16
3 Act II Scene 3: Aria a 2: Il vostro maggio de' bei verdi anni (Sirens) 1:50
4 Act II Scene 3: Recitative: Qual incognita forza (Rinaldo, Goffredo, Eustazio, Donna) - Aria: Il Tricerbero umiliato (Rinaldo) 3:16
5 Act II Scene 3: Recitative: Signor, strano ardimento! (Eustazio) - Aria: Mio cor, che mi sai dir? (Goffredo) 3:31
6 Act II Scene 4: Recitative: Armida dispietata! (Almirena, Argante) 2:25
7 Act II Scene 4: Aria: Lascia ch’io pianga (Almirena) 6:03
8 Act II Scene 4: Recitative: Ah! Sul bel labbro Amore - Aria: Basta che sol tu chieda (Argante) 3:05
9 Act II Scene 5: Recitative: Cingetemi d'allori le trionfali chiome - Scene 6: Recitative: Perfida, un cor illustre (Rinaldo, Armida) 3:20
10 Act II Scene 6: Duet: Fermati! (Armida, Rinaldo) 2:06
11 Act II Scene 7: Recitative: Crudel, tu ch’involasti (Armida - Almirena, Rinaldo) - Aria: Abbrucio, avvampo e fremo (Rinaldo) 4:33
12 Act II Scene 8: Accompagnato Recitative: Dunque i lacci d'un volto - Aria: Ah! crudel, il pianto mio (Armida) 6:51
13 Act II Scene 9: Recitative: Riprendiam d’Almirena (Armida) - Scene 10: Recitative: Adorata Almirena (Argante, Armida) 1:59
14 Act II Scene 10: Aria: Vo’ far guerra, e vincer voglio (Armida) 6:27

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1 Act III Scene 1: Recitative: Quivi par che (Eustazio, Goffredo) - Scene 2: Recitative: La causa che vi spinga (Mago, Goffredo, Eustazio) 1:49
2 Act III Scene 2: Sinfonia 2:51
3 Act III Scene 2: Recitative: Qui vomita Cocito (Goffredo, Eustazio, Mago) - Aria and Recitative: Andante, o forti (Mago) 4:02
4 Act III Scene 3: Recitative: Mori svenata - Scene 4: Recitative: Nella guardata (Armida, Almirena, Rinaldo, Goffredo, Eustazio) 2:47
5 Act III Scene 4: Aria: Sorge nel petto (Goffredo) 4:41
6 Act III Scene 4: Recitative: Al trionfo s'affretti - Aria: E' un incendio fra due venti (Rinaldo) 4:07
7 Act III Scene 5: Recitative: Chiuso fra quelle mura (Argante) - Scene 6: Recitative: Per fomentar lo sdegno (Armida, Argante) - March 4:26
8 Act III Scene 6: Recitative: In quel bosco di strali - Duet: Al trionfo del nostro furore (Argante, Armida) 3:41
9 Act III Scene 7: Recitative: Di quei strani accidenti (Goffredo, Almirena, Rinaldo) - Aria: Bel piacere e godere fido amor (Almirena) 2:59
10 Act III Scene 8: Recitative: Signor, l’oste nemica (Eustazio, Goffredo, Rinaldo, Almirena) - Aria: Di Sion nell’alta sede (Eustazio) 4:23
11 Act III Scene 9: March 1:50
12 Act III Scene 9: Recitative: Se cio t’e in grado, o Prence (Rinaldo, Goffredo) - Aria: Or la tromba in suon festante (Rinaldo) 5:01
13 Act III Scene 10: Recitative: Miei fidi, ecco la in campo (Argante) - Scene 11: Recitative: Magnanimi campioni (Goffredo) 1:06
14 Act III Scene 11: Battaglia 1:36
15 Act III Scene 12: Recitative: Goffredo, ecco il superbo - Scene 13: Recitative: Ecco, german, la cruda (Rinaldo, Argante, Goffredo) 2:14
16 Act III Scene 13: Chorus: Vinto e sol della virtu (All) 1:14
 Marion Newman mezzo-soprano
 Laura Whalen soprano
 Kimberley Barber mezzo-soprano
 Jennifer Ens Modolo mezzo-soprano
 Sean Watson baritone
 Barbara Hannigan soprano
 Kevin Mallon

...There had been attempts to lure the composer Bononcini to England, but the first Italian opera composer of significant reputation to work in London was Handel, who reached the city towards the end of 1710. His opera Rinaldo was based on a scenario by Aaron Hill, the enthusiastic young director of the Haymarket Theatre, whose ambition, as he declared in his Preface to the libretto of Rinaldo, had been to establish ‘English opera more splendid than her Mother, the Italian’. Based on an episode from Tasso’s Gerusalemme liberata, the Italian libretto, by Giacomo Rossi, was published with an English translation by Hill. Rossi himself regretted, in his own preface to the libretto, that he had had to write at some speed, while Handel had seemingly accomplished his part in the work in the space of a fortnight. He might have added that Handel made some use of words that he had already set earlier and that these had to be incorporated into the libretto. Much of the music, in fact, however revised or remodelled, was drawn from earlier compositions, written during Handel’s years in Italy.

Rinaldo opened at the Queen’s Theatre, Haymarket, on 24th February 1711. The cast included the highly praised alto castrato Nicolò Grimaldi, known as Nicolini, as Rinaldo, the contralto Francesca Vanini- Boschi as Goffredo, the alto castrato Valentino Urbani, known as Valentini, as Eustazio, the soprano Isabella Girardeau as Almirena, the soprano Elisabetta Pilotti- Schiavonetti as Armida, the bass Giuseppe Maria Boschi as Argante, and the alto castrato Giuseppe Cassani as the Christian magician. The opera was successful and had fifteen performances in the season, with later revisions and performances in the following years. While Rinaldo won public success, there were those who took exception to the inevitable lack of verisimilitude. Addison, in particular, writing in The Spectator on 6th March, mocked the inclusion of real sparrows ‘to act the part of Singing Birds in a delightful Grove’, with the likely consequences of such casting, the description of Armida as an ‘Amazonian Enchantress’, the presence of a heterodox ‘Christian- Conjuror’, and ‘Nicolini exposed to a Tempest in Robes of Ermin, and sailing in an open Boat upon a Sea of Paste-Board’. Addison returned to the subject of opera in later papers, finding more to praise in Lully’s French opera. Whatever Addison’s objections, as the unsuccessful author of Rosamund, spectacle was an important part of Rinaldo, with the requisite transformation scenes common to Italian opera of the time and, indeed, to English semi-opera.
For Rinaldo Handel borrowed extensively from his earlier compositions.
Keith Anderson
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