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luís soares

Blog do escritor Luís Soares

Io t'abbraccio

Io t'abbraccio from Rodelinda, regina de' Longobardi, opera seria by George Frideric Handel, that premiered at the King's Theatre in the Haymarket in London on 13 February 1725, at the height of his career.  
This duet is sung between Rodelinda, Queen of Lombardy and Bertarido, the usurped King; the role of a king was originally sung by alto castrato while today it is sang by countertenors.

Lucy Crowe (Rodelinda) / Bejun Mehta (Bertarido)


Philippe Jaroussky (Bertarido) / Nuria Rial (Rodelinda)


Renée Fleming (Rodelinda) / Andreas Scholl (Bertarido)

A dispetto d'un volto ingrato

G.F. Handel (1685 - 1759) - Aria Tamerlano: "A dispetto d'un volto ingrato" from opera: "Tamerlano" HWV 18


Countertenor - Jakub Józef Orliński
Conductor - Andriy Yurkevych
Orchestra of the Teatr Wielki – Polish National Opera


A dispetto d'un volto ingrato
più sdegnato già s'agita il cor.


E nel petto ai tumulti dell’alma
può dar calma il mio solo furor.

A dispetto d'un volto ingrato, ecc

Archiwum Konkursu Moniuszkowskiego: Live audition from the Final of The 9th International Stanisław Moniuszko Vocal Competition (9-14 May 2016) in Warsaw at Teatr Wielki - Opera Narodowa

Debaixo de Água.

Akademie für alte Musik Berlin
Georg Kallweit, violino, direção

G.F. Händel 1685-1759

Water Music, HWV 348-350
- Overture: Largo-Allegro
- Adagio e staccato
- Allegro / Andante / Allegro da capo
- Allegro
- Air
- Minuet
- Bourrée
- Hornpipe
- Allegro moderato
- Allegro
- Alla hornpipe
- Minuet
- Rigaudon 1 / Rigaudon 2 / Rigaudon 1 - Lentement
- Bourrée
- Minuet 1 / Minuet 2
- Gigue 1 / Gigue 2 da capo
- Minuet

Lydia Davis – Handel

I have a problem in my marriage, which is that I simply do not like George Frideric Handel as much as my husband does. It is a real barrier between us. I am envious of one couple we know, for example, who both love Handel so much they will sometimes fly all the way to Texas just to hear a particular tenor sing a part in one of his operas. By now, they have also converted another friend of ours into a lover of Handel. I am surprised, because the last time she and I talked about music, what she loved was Hank Williams. All three of them went by train to Washington, D.C., this year to hear Giulio Cesare in Egitto. I prefer the composers of the nineteenth century and particularly Dvořák. But I’m pretty open to all sorts of music, and usually if I’m exposed to something long enough, I come to like it. But even though my husband puts on some sort of Handel vocal music almost every night if I don’t say anything to stop him, I have not come to love Handel. Fortunately, I have just found out that there is a therapist not too far from here, in Lenox, Massachusetts, who specializes in Handel-therapy, and I’m going to give her a try. (My husband does not believe in therapy and I know he would not go to a Dvořák-therapist with me even if there was one.)


In ‘Can’t and Won’t’

Agitata da due venti.

• Vivica Genaux & Concerto Köln at Schwetzinger festspiele


00:00 • Vivaldi: Agitata da due venti - Griselda
05:49 • Handel: L'armi implora dal tuo figlio - Alessandro
14:28 • Handel: Sta nell'Ircana - Alcina
20:59 • Hasse: Piange quel fonte - Numa Pompilio
35:17 • Hasse: Di quel acciaio - Solimano