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Haydn: Orlando Paladino

Patricia Petibon (Angelica), Christian Gerhaher (Rodamonte), Michael Schade (Orlando), Malin Hartelius (Eurilla), Werner Güra (Medoro), Johannes Kalpers (Licone), Markus Schäfer (Pasquale), Elisabeth von Magnus (Alcina) & Florian Boesch (Caronte)

Concentus Musicus Wien, Nikolaus Harnoncourt

Orlando paladino is at the summit of Haydn's operatic art, and Harnoncourt's well-cast version is strongly recommended. — BBC Music Magazine, August 2009 More…

Release Date: 29th May 2006
Catalogue No: 82876733702
Label: Deutsche HM
Length: 2 hours 26 minutes

BBC Music Magazine Awards

2007

Opera Finalist

Haydn: Orlando Paladino - Dramma eroicomico, H. 28 / 11

Work length2:26:16

Album only

Patricia Petibon (soprano), Markus Schäfer (tenor), Michael Schade (tenor), Florian Boesch (bass), Concentus musicus Wien, Malin Hartelius (soprano), Elisabeth von Magnus (mezzo-soprano), Werner Güra (tenor), Johannes Kalpers (tenor), Christian Gerhaher (baritone)
Nikolaus Harnoncourt

Act I: Sinfonia

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Act I: Il lavorar l'è pur la brutta cosa (Introduzione)

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Act I: Presto rispondi, indegno (Recitativo)

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Act I: Ah se dire io vi potessi (Aria)

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Act I: Non perdiamo più tempo (Recitativo)

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Act I: Temerario! Senti e trema (Aria)

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Act I: Palpita ad ogni istante il povero mio cor (Cavatina)

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Act I: Poco di me mi cal, ma per Medoro (Recitativo)

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Act I: Sinfonia

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Act I: Che fami dalla fata? (Recitativo)

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Act I: Ad un guardo (Aria)

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Act I: D'Alcina i detti mi concolano il cuore (Recitativo)

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Act I: Parto. Ma, oh Dio, non posso (Aria)

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Act I: Col mio Medoro accanto (Recitativo)

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Act I: La mia bella m'ha detto di no (Cavatina)

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Act I: Pasquale disgraziato (Recitativo)

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Act I: Ho viaggiato in Francia, in Spagna (Aria)

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Act I: Si regina, ho deciso (Recitativo)

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Act I: Non partir, mia bella face (Aria)

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Act I: In odio al mio bel nume (Recitativo)

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Act I: Angelica, mio ben (Recitativo accompagnato)

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Act I: D'Angelica il nome! (Aria)

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Act I: Ove si cela il furibundo Orlando? (Recitativo)

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Act I: Presto rispondi, indegna (Finale I)

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Act I: Sento nel seno, oh dio (Adagio)

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Act I: Chi mi salva o tien nascoso (Adagio)

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Act II: Stringi tosto quel brando (Recitativo)

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Act II: Mille lampi d'accese faville viberà (Aria)

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Act II: In questo solitarioorrido luogo (Recitativo)

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Act II: Dille che un infelice (Aria)

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Act II: Sembra costui Pasquale (Recitativo)

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Act II: Vittoria, vittoria! (Cavatina)

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Act II: Vuò divertirmi (Recitativo)

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Act II: Quel tuo visetto amabile (Duetto)

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Act II: Aure chete, verdi allori (Aria)

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Act II: Inutili saran del paladino (Recitativo)

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Act II: Fra queste selve invan (Recitativo accompagnato)

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Act II: Quel contento io provo in seno (Duetto)

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Act II: Partiam, giacché n'arride (Recitativo)

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Act II: Oimè, qual tetro oggetto! (Aria) Cosa vedo! Cosa sento!

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Act II: Madama, al vostro bellodi quel grugno (Recitativo)

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Act II: Ecco spiano. Ecco il mio trillo (Aria)

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Act II: Angelica dov'è? (Recitativo)

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Act II: Ne solitario speco

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Act III: Ombre insepolte, di qua partite (Aria)

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Act III: Con l'oblivione ti commando (Recitativo)

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Act III: Sogno? Veglio? (Recitativo accompagnato)

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Act III: Miei pensieri, dove siete? (Aria)

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Act III: L'irremeabil onda (Recitativo accompagnato)

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Act III: Oimè. Già il sangue (Recitativo)

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Act III: Combattimento

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Act III: Implacabili numi! (Recitativo accompagnato)

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Act III: Dell'estremi sue voci dolenti (Aria)

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Act III: Il tuo Medoro fu già risanato

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Act III: Son confuso e stupefatto (Coro)

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Reviews
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Reviews

August 2009

Orlando paladino is at the summit of Haydn's operatic art, and Harnoncourt's well-cast version is strongly recommended.

2010

Nikolaus Harnoncourt boldly proclaims that Orlando Paladino 'is one of the best works in 18th-century music theatre'. Written to commemorate a visit by Russian royalty to Eszterháza that never materialised, Orlando Paladino was first performed in 1782, in celebration of Prince Nikolaus's name-day.
Sabine Gruber's conversational essay explains how Haydn's musical portraits show an astute affection for Ariosto's epic poem. Although Haydn's Orlando Paladino seems part-pantomime, part-fantasy, these characters are never conscious that they are not what they protest to be. Like Ariosto, Haydn lets the audience in on the joke but the characters remain blissfully oblivious to the hypocrisy or naivety of their richly ironic statements to themselves and each other.
Harnoncourt's exemplary team of singers deliver deadpan comedy. For instance, Werner Güra takes on an opera seria posture as the romantic 'hero' Medoro in 'Parto, Ma, oh Dio': the glorious musical language suggests he suffers from sincere passion, but his real motivation is cowardice. One imagines that Patricia Petibon's Angelica is merely emulating the heroic fidelity and courage of women like Mozart's Konstanze but during 'Non partir, mia bella face' one suspects that there is sincerity in her after all: Angelica is facing possible abandonment and her vulnerability shows through. Michael Schade's voice is smokier than it used to be but his powerful resonant high notes, expressive weight and authority suggest that Orlando is more victim than villain. Only the comic secondary roles sung by Markus Schäfer and Malin Hartelius get hammed up, but they each sing with élan.
There is a vivid sense of dramatic intensity in this live concert recording. It is historically absurd to employ a lute as part of the continuo team in a late-18th-century opera but Harnoncourt leads Concentus Musicus Wien through a fizzing theatrical performance. This is comfortably among the finest Haydn opera recordings, although the stingy omission of scene numbers and stage directions from the libretto is unhelpful.

The musical adventurer par excellence,… the scholarly conductor with temperament, the thinking musician who makes music with rough edges

October 2006

Harnoncourt's exemplary team of singers deliver deadpan comedy. There is a vivid sense of dramatic intensity in this live concert recording. …Harnoncourt leads Concentus Musicus Wien through a fizzing theatrical performance. This is comfortably among the finest Haydn opera recordings...

Haydn: Orlando Paladino

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