 | Händel: Ombra cara (Radamisto) - Jaroussky High resolution and stereo sound: http://www.youtube.com/watch?v=BWwtm0PQa_Q&fmt=18 "Ombra cara" (Radamisto), from the opera "Radamisto" HWV.12a (first version), music by Georg Friedrich Händel, libretto probably by Nicola Francesco Haym; created in London (King's Theatre, Haymarket) on April 27, 1720. Soprano Margherita Durastanti was Radamisto in the first cast. Philippe Jaroussky, countertenor. Ensemble Artaserse, conducted by Philippe Jaroussky. Église des Minimes - Brussells, Belgium, February 26, 2008. Performed at "Baroque pitch" (a semitone lower than modern pitch). Simply sublime. I will not make fun of you if you tell me that you cried while listening to this aria. Beautiful and tasteful ornamentation at the end of the B section and in the da capo. Gorgeous high notes, and some intense moments, that sound sincere to me. Note: Philippe Jaroussky sings "mia vita" (my life) instead of "mia sposa" (my wife) in the da capo. This variant doesn't appear in Friedrich Chrysander's edition, that I used in the video. I think it makes that passage even more touching. *** RADAMISTO Ombra cara di mia sposa, deh! riposa, e, lieta, aspetta la vendetta che farò! E poi, tosto, ove tu stai, mi vedrai venir a volo e, fedel, t'abbraccerò. My own translation: Dear ghost of my wife, ah! rest in peace, and, joyous, wait for the revenge that I will take! Then, soon, wherever you are, you will see me flying to you and, faithful, i will embrace you. Ma traduction: Chère ombre de mon épouse, ah ! repose en paix, et, heureuse, attends que j'accomplisse ma vengeance ! Puis, bientôt, où que tu sois, tu me verras voler vers toi et, fidèle, je t'embrasserai. M.D. |
 | Handel - Per te lasciai la luce - Natalie Dessay George Frideric Handel Per te lasciai la luce Extract (Aria #5) from the cantata Delirio amoroso, HWV 99 Text: Benedetto Pamphilj In this recording: Natalie Dessay (soprano) Atsushi Sakaï (Viola da gamba) Le Concert D`Astrée/Emmanuelle Haïm Label: EMI Classics Italian cantata from Handel's "Cantate con strumenti" which he mainly composed in Italy between 1706 and 1710. Cantata "Il Delirio amoroso" was composed in 1707 for Handel's patron Benedetto Pamphilj, who also wrote the libretto texts. The extensive cantata Delirio amoroso is an evocation of hallucinatory madness in which Clori imagines she enters the realm of the dead to conduct her disdaining lover to the Elysian fields. Pamphilj's text for Delirio amoroso (Love's delirium) is more imaginative than most cantata texts, and inspired Handel to create some expansive and delightful music. The cantata may have been presented with a simple form of staging, as is suggested by the unusual feature of dance movements for the instruments alone. The first and last recitatives are narrations, setting and closing the scene. In between the singer impersonates the lover Chloris mourning the death of her beloved Thyrsis. Apparently he never responded to her love, so in her 'delirium' she imagines that he is being punished in hell for his cruelty. She resolves to enter the underworld herself and bring him back to life - but even in death he continues to reject her. At first she is angry, but then she decides in an act of compassion to move him from the fiery part of Hades to the Elysian Fields.The cantata begins with an orchestral Introduzione in da capo form, the lively opening section with solo oboe being repeated after a short Largo for strings alone. Chloris's first aria, with its extensive part for solo violin, is one of the most elaborate that Handel ever wrote, and he made good use of it in other works. It became the closing aria of Act 1 of his opera Rodrigo, produced in Florence in the autumn of 1707, and a more substantially revised version also appeared in the first version of Radamisto, produced in London in April 1720. The second aria, Per te lasciai, begins as a wistful minuet, but immediately broadens into a dialogue between the voice and a solo cello; in the more dramatic middle section, Chloris' pleas to Thyrsis are answered only by eloquent moments of silence. Yet another solo instrument, a recorder, appears in the next aria, from which Handel later took ideas for "Hush, ye pretty warbling choir" in Acis and Galatea and for his violin sonata in D major. The orchestral Entrée is one of the earliest known examples of Handel's borrowing from other composers: the opening bars come directly from Reinhard Keiser's opera Claudius, produced in Hamburg in 1703, where they also begin an Entrée of Spirits in the Elysian Fields; the rest of the movement comes from an earlier Entrée of Handel's own, in Act 3 of Almira, his first opera for Hamburg. Original text: Per te lasciai la luce, ed or che mi conduce amor per rivederti, tu vuoi partir da me. Deh, ferma i passi incerti, o pur se vuoi fuggir, dimmi perché? Translation: For you I left the daylight, and now that love leads me to see you again, you want to leave me. Oh, stop your uncertain steps, Or if you want to go, tell me why. Why? For you I left the daylight... |
 | Philippe Jaroussky sings Verdi Prati French countertenor Philippe Jaroussky sings Ruggiero's Act II aria "Verdi Prati" from Handel's Alcina |
 | A Kirchschlager D de Niese "Bramo aver..." Ariodante Handel Anegelika Kirchschlager as Ariodante and Danielle de Niese as Ginevra sing the duetto "Bramo aver mille vite" in act III of the opera Ariodante from Handel. Les Talens Lyriques, Christophe Rousset. Paris, Théâtre des Champs Elysées, March 2007. |
 | Händel: Se vago rio (Aminta e Fillide) - Jaroussky High resolution and stereo sound: http://www.youtube.com/watch?v=40lItEYxfXg&fmt=18 "Se vago rio" (Aminta), from the dramatic cantata "Aminta e Fillide" HWV.83 (also known as "Arresta il passo"), music by Georg Friedrich Händel, created in Rome (Palazzo Ruspoli) on July 14, 1708. This aria became the mermaids' aria a due "Il vostro maggio" in "Rinaldo" (1711). Philippe Jaroussky (countertenor), Ensemble Artaserse, conducted by Philippe Jaroussky. Théâtre du Châtelet, Paris, March 2, 2008. In this recording, the aria has been transposed down by 3 semitones. Also, the first three bars in the da capo have been switched with the next three bars, and I have edited the score accordingly. As you will notice, the solo violin doesn't play all its part, and adds a lot of ornamentation when it plays. Needless to say, the score doesn't mention that the accompaniment should be played pizzicato, and implies the presence of a harpsichord in some passages (tutti). *** AMINTA Se vago rio fra sassi frange l'amato argento, al fin contento posa nel mare; [ma] il ciglio mio, che sempre piange, non trova seno che ponga freno al suo penare. Translation (by Anthony Hicks): AMYNTAS Though a pretty stream may break up its lovely silver among rocks, at last it happily comes to rest in the sea; [but] my eyes, ever weeping, find no heart that offers respite to their suffering. *** M.D. |
 | Philippe Jaroussky sings Tu preparati a morire French Countertenor Philippe Jaroussky sings "Tu preparati a morire" from Act II of Handel's Ariodante. |
 | Händel: Io t'abbraccio (Rodelinda) - Rial, Jaroussky High resolution and stereo sound: http://www.youtube.com/watch?v=BljDpDZ3R6A&fmt=18 "Io t'abbraccio" (Rodelinda, Bertarido), from the opera "Rodelinda" HWV.19, music by Georg Friedrich Händel, libretto by Antonio Salvi, revised by Nicola Francesco Haym; created in London (King's Theatre, Haymarket) on February 13, 1725. Rodelinda: Núria Rial, soprano. Bertarido: Philippe Jaroussky, countertenor. Ensemble Artaserse, conducted by Philippe Jaroussky. Théâtre du Châtelet, Paris, March 2, 2008. At the beginning, Philippe Jaroussky says: « On ne pouvait pas résister au plaisir de vous interpréter ce duo qui, pour moi, est un des plus beaux de Händel : "Io t'abbraccio", extrait de "Rodelinda" » (We couldn't resist the pleasure of interpreting for you what is, to me, one of Händel's most beautiful duets: "Io t'abbraccio", from "Rodelinda"). Some imprecisions here and there (especially the violins), but overall a very beautiful interpretation of this duet. This was the first encore of the concert. I cut the applause. *** RODELINDA e BERTARIDO Io t'abbraccio. E più che morte, aspro e forte, è pel cor mio questo addio, che il tuo sen dal mio divide. Ah mia vita! Ah mio tesoro! se non moro, è più tiranno quell'affanno, che dà morte, e non uccide. Translation (by Kenneth Chalmers): I embrace you. And more bitter and harsh than death to my heart is this farewell which tears us apart. Ah, my life! Ah, my treasure! If I do not die, then how cruel is that distress which brings death, but does not kill. *** M.D. |
 | Ernest Chausson: Le charme - Philippe Jaroussky High resolution: http://www.youtube.com/watch?v=PduvQDw7Cg0&fmt=18 "Le charme", poem by Armand Sylvestre (1837-1901), music by Ernest Chausson (1855-1899), No. 2 from Sept mélodies, Op. 2 (1879-1882). Philippe Jaroussky, countertenor. Jérôme Ducros, piano. Prieuré de Blyes, May 26, 2008. Festival Le Printemps de Pérouges. Many thanks to mahajaroussky for finding this video. *** Le charme Quand ton sourire me surprit, Je sentis frémir tout mon être ; Mais ce qui domptait mon esprit, Je ne pus d'abord le connaître. Quand ton regard tomba sur moi, Je sentis mon âme se fondre ; Mais ce que serait cet émoi, Je ne pus d'abord en répondre. Ce qui me vainquit à jamais, Ce fut un plus douloureux charme, Et je n'ai su que je t'aimais, Qu'en voyant ta première larme. Translation (by Thomas A. Gregg): The charm When your smile surprised me, I felt a shudder through my entire being, But what tamed my spirit, At first I did not recognize. When your glance fell on me, I felt my soul melt, But what that emotion was, At first I could not answer it. What conquered me forever, That was a charm more sad, And I did not know that I loved you, Until I saw your first tear. *** M.D. |
 | sedecia, scarlatti (1) an extract from the first part of the oratorio "sedecia, re di gerusalemme" by Alessandro Scarlatti (1706) I'd already posted this video but i converted it in 16/9 (thanks mehdi!) so I'm sorry for maha who had added a comment. recitativo "tanto sperar d'eggio"(sedecia, ismaele, nadabbe) aria ismaele "del mio col nel più segreto" There are many differences between this live performance and the CD. But I think this one is more interesting and...more "perilous" for Jaroussky. =) philippe jaroussky (ismaele) gerard lesne (sedecia) joseph Cornwell(nadabbe) il seminario musicale festival ambronay 1999 |
 | Philippe Jaroussky, Handel: Scherza, Infida Do I still live? And without a sword, o gods? What shall I do? What do you say, my troubles? / Enjoy yourself, o faithless one, in the arms of your lover. Betrayed by you, I will now give myself up to death's embrace. / But in order to break this shameful tie, a sad shade and bereaved spirit, I will return to punish you. George Frideric Handel: from Ariodante. Philippe Jaroussky, countertenor. (For further information about high-male voices, check http://www.malesopranos.com ) |
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