Haydn: L'anima del filosofo, ossia Orfeo ed Euridice

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Christopher Hogwood builds his band on the model of those prevalent in late 18th-century London theatres. Not only does his phrasing and articulation discover no end of witty and poignant nuances,... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: E4526682
Label: Decca
Series: Opera Sets
Length: 2 hours 3 minutes

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Haydn: L'anima del filosofo, ossia Orfeo ed Euridice

Work length2:03:50

$45.05

$60.95

Cecilia Bartoli (mezzo-soprano), Angela Kazimierczuk (soprano), James Oxley (tenor), Ildebrando D'Arcangelo (bass), Andrea Silvestrelli (bass), Jose Fardilha (tenor), Uwe Heilmann (tenor), Colin Campbell (baritone), Roberto Scaltriti (baritone)
Academy of Ancient Music, The Academy Of Ancient Music Chorus
Christopher Hogwood
Recorded: 1995-12
Recording Venue: Henry Wood Hall, London

Overture

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Sventura, che fo?

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Ferma il piede, o principessa?

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Che chiedete da me ?

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Filomena abbandonata

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Cieli! Soccorso! Aita!

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Rendete a questo seno

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Cara speme! Alme di scoglio!

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O prodigio, o stupor

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O poter dell'armonia!

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Ah! chi sa dirmi

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Il pensier sta negli aggotti

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Grazie agli dei

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Come il foco allo splendore

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Finché circola il vigore

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Adorata consorte

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Finché circola il vigore

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Numi, che ascolto!

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Ecco signor la principess

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Dov'è l'amato bene?

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Dell mio core il voto estremo

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Con Euridice estinte son le gelose cure

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Dov'è quell'alma audace

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In un mar d'acerbe pene

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Euridice, signor

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Mai non sia inulto

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Ah, sposo infelice!

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Al cielo te ne voli!

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Ah, sposa infelice! (reprise)

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Che sarà mai d'Orfeo?

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Chi spira e non sprea

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Venerata Sibilla

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Al tuo seno fortunato

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Costanza a me si chiede?

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La giustizia...Dove mi guidi...La giustizia

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Infelice ombre dolenti

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Che ascolto, oh numi

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Urli orrendi, disperati

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O signor, che all'ombre imperi

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Trionfi oggi pietà

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O della reggia mia

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Intermezzo

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Quai dolci e care note

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Son finite le tue pene

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Sovvengati la legge

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Perduto un'altra volta

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Mi sento languire

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Barbaro infido amore

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Vieni, vieni amato Orfeo

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Perfide, non turbate di più

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Bevi, bevi, in questa tazza

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Andiamo, amiche, andiamo

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Oh, che orrere!

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Reviews
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Reviews

2010

Christopher Hogwood builds his band on the model of those prevalent in late 18th-century London theatres. Not only does his phrasing and articulation discover no end of witty and poignant nuances, but the grave austerity of the string playing, and the plangency of the early woodwind instruments are eloquent advocates of an opera whose uncompromisingly tragic ending owes more to Ovid and Milton than to operatic tradition. Hogwood also remembers that Haydn was writing for a Handelian London choral tradition: his chorus, be they cast as Cupids, Shades or Furies, have robust presence, and sculpt their lines with firm muscle.
Cecilia Bartoli takes the role of Euridice. In her very first aria, 'Filomena abbandonata', she understands and eagerly re-creates the type of coloratura writing which simultaneously fleshes out the central nightingale simile and incarnates the single word 'crudeltà'. Her unmistakable, melting half-voice comes into its own as emotion first clouds reason, only to create the fatal emotional extremes to which she gives voice so thrillingly. Uwe Heilmann is just the tenor of rare agility and wide vocal range vital for this particular Orfeo. The minor parts are strongly profiled: d'Arcangelo is a stern, noble Creonte, Silvestrelli a fearsome, stentorian Pluto – and there's even a convincing strepito ostile off-stage as Euridice's abduction is attempted in Act 2.
Beyond the detail, it's the poignancy of the musical drama at the heart of this strange, grave Orfeo which Hogwood reveals with such sympathetic and imaginative insight.

Offer,Haydn: L'anima del filosofo, ossia Orfeo ed Euridice

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