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2 internautes sur 2 ont trouvé ce commentaire utile
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Un éditeur peu connu, une interprétation de très bon niveau par des artistes inconnus en Europe: en Amérique on peut aussi faire de la belle ouvrage avec un répertoire qui n'encombre pas nos rayonnages.
3 internautes sur 4 ont trouvé ce commentaire utile
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This recording would deserve five or even six stars because of the amazing voices of the singers, both very impassioned and cut out for their roles (the fact that Cleopatra's part was written for no less than Farinelli speaks volumes about its amazing expressiveness) and the extraordinary strength and impulse of Dirst's direction of the very refined players of Ars Lyrica Houston (on original instruments): vivid particulars are spotlighted as well as the perfect dramatic consistency of the whole work. There's only one reason why I chose to give four stars instead. Quoting from the booklet: "Hasse's score makes vivid the complex emotions of his title characters in eight arias, two duets, and some highly expressive recitative; the whole is introduced by a Sinfonia in two movements. Though the work is scored for just strings and continuo, this recording adds various woodwinds (oboes, recorders, flute and bassoon), rendering even more colorful Hasse's imaginative and supple ideas." I don't know: this habit may even spring from a contemporary practise with woodwinds enhancing the string line but I'm not sure "Hasse's imaginative and supple ideas" need that. I would have liked to listen to the original color of the orchestra: Baroque string orchestras can be so varied and apt to represent each and every feeling ("affetti") of the text, all the more so if the composer himself wanted it to be so!
As for the music itself, this 'serenata' is a real treat: of course everyone cannot be such a master as Handel was, along with a very few other composers of his age, in catching in recitatives the real accents and inflections of spoken Italian (you can't realize that if you're not Italian, or at least speak Italian very well!)---Hasse seems to cope well with the task (he'd only lived in Italy for five years when he wrote Marcantonio e Cleopatra), even though sometimes the recitatives sound somewhat strange, with high notes out of place, for instance, or words stressed that had better not be and so on (this is what I feel anyway: maybe on a second and third hearing I will feel different). Arias and duets give us an uninterrupted series of little masterpieces, and the singers Ava Pine as Cleopatra and Jamie Barton as Antonio do really make them sound exactly as they should. Bravissime.
Here's hoping Ars Lyrica Houston will go on producing and recording such masterpieces from the early XVIIth century repertoire---it's about time we knew and loved them through such first class renditions.
As for the music itself, this 'serenata' is a real treat: of course everyone cannot be such a master as Handel was, along with a very few other composers of his age, in catching in recitatives the real accents and inflections of spoken Italian (you can't realize that if you're not Italian, or at least speak Italian very well!)---Hasse seems to cope well with the task (he'd only lived in Italy for five years when he wrote Marcantonio e Cleopatra), even though sometimes the recitatives sound somewhat strange, with high notes out of place, for instance, or words stressed that had better not be and so on (this is what I feel anyway: maybe on a second and third hearing I will feel different). Arias and duets give us an uninterrupted series of little masterpieces, and the singers Ava Pine as Cleopatra and Jamie Barton as Antonio do really make them sound exactly as they should. Bravissime.
Here's hoping Ars Lyrica Houston will go on producing and recording such masterpieces from the early XVIIth century repertoire---it's about time we knew and loved them through such first class renditions.
Listmania!
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