# What are your favorite baroque operas?



## Itullian (Aug 27, 2011)

As above and why do you like it/them?
Thanks


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## brotagonist (Jul 11, 2013)

I have none.

I have a copy of Purcell's Dido and Aeneas, which I consider enjoyable, but it is far from a favourite opera or favourite classical work.


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## Diminuendo (May 5, 2015)

Rodelinda by Handel, because that is the only one I've seen/heard. Met 2011 with Fleming from met on demand. Actually very good and I even liked the countertenors. Fleming was magnificent. I liked the style of the opera, but I still prefer newer operas.


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## Woodduck (Mar 17, 2014)

_L'Orfeo_ and _Dido and Aeneas._ The first is unique and delightful, and the latter is short and sweet (and delightful - and there's that sublime lament). I love a lot of the music in Handel's operas, but in their entirety those that I've heard just drag for me. I suspect I need to see one well produced to get the full value from it.


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## Marschallin Blair (Jan 23, 2014)

Woodduck said:


> _L'Orfeo_ and _Dido and Aeneas._ The first is unique and delightful, and the latter is short and sweet (and delightful - and there's that sublime lament). I love a lot of the music in Handel's operas, but in their entirety those that I've heard just drag for me. I suspect I need to see one well produced to get the full value from it.


Well you took the words out of 'my' mouth- so I can only add a bit of a postscript: I'd choose _L'Orfeo_ with Natalie Dessay and _Dido_ with Janet Baker.

To these, I'd add another Renaissance opera which I love: _L'incoronazione di Poppea_ (_La Venexiana_ incarnation first and foremost).


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## schigolch (Jun 26, 2011)

These are mine:

Giulio Cesare in Egitto (Handel) - 




Tamerlano (Handel) - 




Arminio (Biber) - 




Hippolyte et Aricie (Rameau) - 




L'incoronazione di Dario (Vivaldi) - 




Griselda (Scarlatti) - 




Titon et l'Aurore (Mondonville) - 




Dido and Aeneas (Purcell) - 




Acis & Galatée (Lully) - 




Orfeo (Rossi) -


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## schigolch (Jun 26, 2011)

Woodduck said:


> _L'Orfeo_ and _Dido and Aeneas._ The first is unique and delightful, and the latter is short and sweet (and delightful - and there's that sublime lament). I love a lot of the music in Handel's operas, but in their entirety those that I've heard just drag for me. I suspect I need to see one well produced to get the full value from it.


Don't know if you have tried this production of "Giulio Cesare", available in youtube:






Let's me start by saying that I find this a brilliant production!.

However, I have had always the doubt that maybe it's brilliant to someone already quite familiar with "Giulio Cesare", and I'm not that sure about someone watching the opera for the first time, even knowing the music beforehand. But it's worth a try, indeed!. Funny at times, but not forgetting this is supposed to be dramatic, and even with some dancing in between.


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## Clayton (Nov 10, 2013)

As fickle as the Iron Duke in a house of ill repute and an attention span slightly less than that of a goldfish with attention deficit disorder, I will add my usual disclaimer _for today_

Cavalli Artemisia - not just the lullaby but the whole opera is full of beautiful melodies (love songs)

Vivaldi La Verità in cimento - the stunning garden trio and Mamud's arias (turmoil of oh what a duff family I have) and more

Pergolese L'Olimpiade - Licida aria _hope your dream is as good as mine_ just one example of many

Handel Deidamia - just curtain to curtain of fun arias (plus a couple of profound)

Graun Cleopatra e Cesare - another beautiful telling of the story, very similar to Haym libretto but without comedy

Vinci Artaserse - baroque 'n roll

Hasse Siroe - as above


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## Cesare Impalatore (Apr 16, 2015)

Woodduck said:


> I love a lot of the music in Handel's operas, but in their entirety those that I've heard just drag for me. I suspect I need to see one well produced to get the full value from it.


Handel's works have a singular amount of vitality compared to other baroque operas, a great potential of either dramatic intensity or entertaining comedy (_Serse_ is a good example for both) but it indeed depends on how well the production manages to capture it.


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## Cesare Impalatore (Apr 16, 2015)

My favourite baroque operas are:

1. Handel's Giulio Cesare: Handel at his best, the single most captivating baroque opera for me. I love how the famous Cleopatra lament was used in the Hannibal TV-series - 




2. Pergolesi's La serva padrona: Originally an _intermezzo comico_, this pretty much became the figurehead of Opera Buffa and destroyed the by that time dried-out Tragédie lyrique establishment in France when it was performed in Paris; here is a very charming production - 




3. Monteverdi's Il ritorno d'Ulisse in patria: This is a must as big fan of the Odyssey and Monteverdi - 




4. Handel's Serse: I fell in love with the version I've seen with my relatives in Germany at the Deutsche Oper am Rhein, perfect combination of tragic and comedic elements - 




5. Vivaldi's Ercole sul Termodonte: I discovered this thanks to Il Giardino Armonico and Cecilia Bartoli, finest music by Vivaldi (obviously) - 




6. Purcell's Dido and Aeneas: Can't exclude the classic - 




7. Rameau's Platée: Gotta love some Rameau craziness, _la folie_ -


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## sospiro (Apr 3, 2010)

Itullian said:


> As above and why do you like it/them?
> Thanks


And what's yours? And why?


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## sospiro (Apr 3, 2010)

Only just started dipping my toe into baroque so my favourites may well change with time. At the moment they're these.

The first Handel opera I got to know was Acis and Galatea and it's become one of my favourite operas.






The second Handel opera I got to know was La resurrezione and this also has become a favourite






I've only started listening to Monteverdi but I've now got several versions of Il ritorno d'Ulisse in patria and I love it! So far this is my favourite.


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## DarkAngel (Aug 11, 2010)

Almost all of my baroque opera listening is with Handel and Vivaldi opera, new generation of singers and conductors have transformed the genre compared to older recordings, exciting musically with imaginative and daring vocal ornamentation in the da capo sections....

For Vivaldi just get any or all of the *Naïve Vivaldi series*, great sound and great singers, uniformly high quality releases










For Handel Italian opera* Alan Curtis is the go to conductor*, again his new work sound much different and better than his older recordings there is a great Virgin boxset to get caught up for reasonable price......most of his new releases are on Archiv label and just recently Naïve as shown below




























Some of these are on spotify and tidal but as usual search function is weak and you have to try a few different ways to find them


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## Itullian (Aug 27, 2011)

sospiro said:


> And what's yours? And why?


Hi Annie 
To tell you the truth, I haven't listened to any baroque opera in a looooong time.
At this point in time I find them very boring.
So much of the music sounds alike to me, PLUS the recitatives drive me up the wall, PLUS I can't stand countertenors.

I do have some of the Naïve Vivaldi operas and they are good, but haven't listened in ages. I'll try em again sometime, I think.

I was wondering which operas folks are listening to these days, so that's why I asked.


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## Bellinilover (Jul 24, 2013)

I absolutely love GIULIO CESARE. It's the only Baroque opera I know, but I love it. The music is magnificent.


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## sabrina (Apr 26, 2011)

I think the first baroque operas I liked came from Pergolesi (La Serva Padrona). I also realized I like Vivaldi's operas, which is not so surprising considering that I liked everything I listened coming from Vivaldi (not only his famous violin concertos). Other than these two composers, I have some problems. 
The first composer I tried, long time ago, was Handel, but I was not so impressed. Of course, that does not mean I would't like it later...
I still prefer the classical/romantic period in both opera and concerts.


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## MAS (Apr 15, 2015)

Definitely Händel. Giulio Cesare, Rodelinda, Serse, Ariodante, Alcina, Orlando, Semele, MESSIAH!, Rinaldo, to name a few! I cite two pieces: Ombra Mai Fu (Largo), and Hallelujah that are universally known. Yes, I know Messiah is not an opera, but please!


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## schigolch (Jun 26, 2011)

There is a tendency to perform Handel's oratorios staged, including "Messiah". An example:






Personally, I'm not a big fan of this, though I have enjoyed the result sometimes, especially "Il trionfo del Tempo e del Disinganno", by Jürgen Flimm.


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## ma7730 (Jun 8, 2015)

I really enjoy Giulio Cesare, it's just full of great tunes, and is very fun. I have seen the production at the met with Dessay and Daniels, and though the production was....interesting...the cast was spectacular.


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## fantasia2000 (Apr 25, 2015)

I regard Giulio Cesare (and Mozart's Figaro) as the best operas ever written, so there!  Handel is my most favorite opera composer, so I may be *a bit* bias.


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## BalalaikaBoy (Sep 25, 2014)

Handel's Rinaldo =)


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## tenorino (May 12, 2015)

I think Hasse is really underrated, and his _Siroe_ would definitely make my top ten baroque operas. I like Monteverdi, too, but I'd take _Il ritorno d'Ulisse in patria_ over the _L'Orfeo_ and _L'incoronazione di Poppea_.

On the whole, I'm not a fan of Vivaldi opera, but _Ercole su'l Termodonte_ is an exception. I am a big Handel fan, though, and aside from the obvious operas (_Alcina_, _Rodelinda_, _Ariodante_, etc.) I was rather impressed by his _Sosarme_.


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## Clayton (Nov 10, 2013)

According to the CCBO Charts* for those who follow these really rather odd commentaries**, the baroque opera CD of the month, the baroque opera CD of the year AND top of the charts as number one most played is

Terradellas: Artaserse
Anna Maria Panzarella (Artaserse), Céline Ricci (Arbace), Marina Comparato (Mandane), Sunhae Im (Semira), Augustin Prunell-Friend (Artabano) & Mariví Blasco (Megabise)
La Real Compañía Ópera de Cámara, Juan Bautista Otero
Palau de la Músic Catalana, Barcelona June 2008









Absolutely stunning music from a composer of Neapolitan school who studied under Durante who also was Sensei to amongst others, Pergolesi. You can hear the same beautiful romantic lyrical lines and a stunning performance here, especially from the delight Sunhae Im. A must for fans of opera of Italian baroque of the mid eighteenth century

*Clayton's Choice of Baroque Opera Charts (currently unsponsored)
**Total Twit followers (as of 24/06/15) 0, total facebooks friends (as of 24/06/15) 0, Total of ANYone paying attention (yes, again as of today) 0. sad but true


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## DarkAngel (Aug 11, 2010)

Clayton said:


> According to the CCBO Charts* for those who follow these really rather odd commentaries**, the baroque opera CD of the month, the baroque opera CD of the year AND top of the charts as number one most played is
> 
> Terradellas: Artaserse
> Anna Maria Panzarella (Artaserse), Céline Ricci (Arbace), Marina Comparato (Mandane), Sunhae Im (Semira), Augustin Prunell-Friend (Artabano) & Mariví Blasco (Megabise)
> ...


Clayton have you had a chance to compare this to older set below (does it chart on the CCBO list  )
I just saw it is two different composers but still same question










FYI I am now also a proud owner of Pristine XR Kempe Meistertsinger 1956......living large!


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## Clayton (Nov 10, 2013)

DarkAngel said:


> Clayton have you had a chance to compare this to older set below (does it chart on the CCBO list  )
> I just saw it is two different composers but still same question
> 
> FYI I am now also a proud owner of Pristine XR Kempe Meistertsinger 1956......living large!


Interesting question and I thought about it and did a little reading.

Maybe they are quite similar, which might not be so surpising. Both composers are similar age (though exact date of Vinci's birth is unknown), with maybe only seventeen years separating them and they both studied at the Conservatorio dei Poveri di Gesù Cristo. Both composed the operas at a mature period of their musical development, Vinci aged 34 (first performance 3 months before killed by a poisoned cup of chocolate) and Terradellas aged 31. Though he went on to compose further operas including a masterpiece Sesostri (postman just delivered this so stick around for further news!).

I think this is around the peak of the belcanto tradition (Vinci 1730 and Terradellas 1744) and both operas are virtuostic masterpieces with the first performance of both filled with superstars of their time.

As the Vinci was commissioned and performed in Rome, it is all male cast including Francesco Tolve, hailed as one of the greatest tenors of the day, as Artabano and also the castrato Giovanni Carestini (who commanded a higher salary than Caffarelli) as Arbace, for whom Vinci wrote the aria Vo solcando un mar crudele.

Terradellas' was commissioned in Venezia and so had the female cast as well. This cast included Margherita Giacomazzi, one of the greatest Vivaldi sopranos, as Artaserse and Ventura Roccheti, one of the greatest castratos of the eighteenth century, as Arbace.

So both have many abolutely stunning arias for all the roles and whilst I did listen to each aria side by side, I come away only thinking both are superb masterpieces as I said of the belcanto tradition, with the most beautiful melodies and they both develop the story and characters very well.

I think my preference at the moment is with the later Terradellas, where I feel the music is more colourful and dynamic and this recording made by La Real Compañía Ópera de Cámara and Juan Bautista Otero (all roles by females, except tenor of course) is an absolutely stunning performance.


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## Clayton (Nov 10, 2013)

post script

that Pristine XR Kempe Meistertsinger 1956 is superb! I too am "living large", having invested in new Sennheiser 700 and tube amp (outrageous lie to the wife saying my other ones were not working).


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## SixFootScowl (Oct 17, 2011)

MAS said:


> ... Yes, I know Messiah is not an opera, but please!


I read that there has been a production of Messiah done as an opera. I have no desire to see it. I like Messiah as it is, an oratorio.

I don't know what baroque is, but I see La Serva Padrona listed multiple times in this thread. Here are my two favorites on You Tube (complete):

This is where Anna Moffo is extra special (and Montarsolo is great too):





I really like this one, but for the goofy antics of the two guys in the background. Otherwise this one is FANTASTIC:





There was one of the same vintage as the Moffo one but in English. It apparently was removed from You Tube since I saw it last year.

Would Luigi Cherubini be considered baroque? If so, then I have Lodoiska.


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## Balthazar (Aug 30, 2014)

Since the plots of most baroque operas are lackluster at best, I tend to focus more on specific productions/recordings that stand out as exceptional rather than a particular opera.

One of my favorite discoveries of the last year was this fantastic recording of Handel's _Agrippina_ with René Jacobs directing the Akademie für Alte Musik Berlin. Not only is it thrilling music-making, but it actually has a relatively engaging plot line as well.


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## Sonata (Aug 7, 2010)

I haven't listened to enough to say I have a favorite, baroque takes up only a small portion of my listening. However I recently revisited some French baroque (highlight albums of Rameau and Lully) and suddenly I found they worked for me after failing to do so before. So I'm enjoying some of that stuff lately 

Oh, I meant to say too that I'm not a Handel fan at all so I won't dip into much of his opera output. My exception: I am keen to check out Guilio Cesare with Beverly Sills....because I like her a lot and heard good things about her in this work


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## Clayton (Nov 10, 2013)

Sonata said:


> I haven't listened to enough to say I have a favorite, baroque takes up only a small portion of my listening. However I recently revisited some French baroque (highlight albums of Rameau and Lully)...


I am not the Sun King (maybe the Rising Sun canal side pub regular) but a big fan of Lully.

If you want to explore further, I will recommend three of my favourites with beautiful music presented with stunning performances that are unforgettable (the music WILL keep going on in your head for a long time).

Lully: Phaëton
Emiliano Gonzalez Toro (Phaéton), Ingrid Perruche (Clymène), Isabelle Druet (Théone, Astrée), Gaëlle Arquez (Libye), Andrew Foster-Williams (Épaphus), Frédéric Caton (Mérops, Automne, Jupiter), Benoît Arnould (Protée, Saturne), Cyril Auvity (Triton, le Soleil)
Les Talens Lyriques, Christophe Rousset









Lully: Thesée
Howard Crook, Laura Pudwell, Ellen Hargis & Harry van der Kamp
Boston Early Music Festival Orchestra & Chorus, Paul O'Dette & Stephen Stubbs









Lully: Amadis
Cyril Auvity, Judith Van Wanroij, Ingrid Perruche, Edwin Crossley-Mercer, Benoît Arnould, Bénédicte Tauran, Hasnaa Bennani, Pierrick Boisseau, Reinoud Van Mechelen, Caroline Weynants & Virginie Thomas
Les Talens Lyriques, Christophe Rousset


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## Sonata (Aug 7, 2010)

Thank you for the recommendations!


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## JSBach85 (Feb 18, 2017)

Clayton said:


> According to the CCBO Charts* for those who follow these really rather odd commentaries**, the baroque opera CD of the month, the baroque opera CD of the year AND top of the charts as number one most played is
> 
> Terradellas: Artaserse
> Anna Maria Panzarella (Artaserse), Céline Ricci (Arbace), Marina Comparato (Mandane), Sunhae Im (Semira), Augustin Prunell-Friend (Artabano) & Mariví Blasco (Megabise)
> ...


I really like this thread. I am currently listening this opera through youtube. Finally an outstanding opera by a spanish composer. I am enjoying those arias so much that I have just purchased the recording through Amazon. Despite the performance is not as good as other specialized baroque ensembles/orchestras + the vocal casting is not among the best, the opera itself makes this recording a must have.


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## SixFootScowl (Oct 17, 2011)

Well, I am having difficulty listening to Monteverdi. I tried a couple more times and just didn't like it. But maybe the DVD I ordered will change my mind. I ordered it because it has Vesselina Kasarova. It is Monteverdi Il ritorno d'Ulisse in patria. If I like that, maybe I will get tickets for the concert performance next April.

I do have three Handel operas I really like and one Gluck.


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## JSBach85 (Feb 18, 2017)

Yes!, this recording arrived at home today:









Italian opera by spanish composer, what a great composer!. Those arias are among the best I have listened so far!. I noticed influences of Handel and Hasse. Maybe the performance is not as good as other Handel/Vivaldi specialists performers such as Europa Galante, Accademia Bizantina, Il Pomo D'Oro, etc... but surely Artaserse is always an excellent opera either with Vinci, Hasse, Terradellas.

Please listen to this outstanding aria posted on youtube, the sound quality is a little worse than the cd but what a great aria by spanish soprano Marivi Blasco:

Allor che irato freme - Artaserse - Terradellas





Thank you Clayton to discover me this amazing opera!. I wish I could give you 100000000000 likes.


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## StDior (May 28, 2015)

My favorite baroque operas:
Monteverdi: Il ritorno d'Ulisse in patria
Monteverdi: L'incoronazione di Poppea
Cavalli: La Calisto
Vivaldi: La fida ninfa
And favorite oratorios, which can (?!) be performed as opera:
Caldara: Maddalena ai piedi di Cristo
Handel: Messiah


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## Bettina (Sep 29, 2016)

My top ten favorite Baroque operas:

1. Handel: Giulio Cesare
2. Purcell: Dido and Aeneas
3. Monteverdi: Orfeo
4. Monteverdi: L'incoronazione di Poppea
5. Rameau: Les Indes Galantes
6. Lully: Phaëton 
7. Handel: Alcina
8. Cavalli: La Calisto
9. Rameau: Hippolyte et Aricie
10. Purcell: The Fairy Queen (I'm not sure if this counts as an opera or as a play with musical accompaniment...)


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## Pugg (Aug 8, 2014)

​Handel. : Alcina
Long time nothing and then: Purcell / Dido: Troyanos et al.


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## hpowders (Dec 23, 2013)

Handel Giulio Cesare

Handel Semele

Handel Hercules

Rameau Dardanus

Rameau Les Indes Galantes

Rameau Hippolyte et Aricie


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## Pugg (Aug 8, 2014)

Bettina said:


> My top ten favorite Baroque operas:
> 
> 1. Handel: Giulio Cesare
> 2. Purcell: Dido and Aeneas
> ...


If you like it, it's fine by us.


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## Sonata (Aug 7, 2010)

1) Lully- Thesee
2) Vivaldi- Ercole
3) Rameau- Les Indes Galante
4) Charpentier- Le Couronne De Fleurs (very short but beautiful)
5) Charpentier-Orphee (ditto as above)
6) Vivaldi Bajazet
7) Lully-Psyche


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## Bill H. (Dec 23, 2010)

I'm most fond of anything by Monteverdi, Cavalli, or Rameau. Oddly enough I haven't had as much exposure to Handel, and limited to Vivaldi.

However, one out of left field that I'll throw in is "La Purpura de la Rosa," the ca. 1700 work by Tomas Torrejon y Velasco, acknowledged as the first opera written in the New World--it was performed in Lima, Peru. The libretto (based on the Venus and Adonis story) is by de la Barca and was originally set in another musical work celebrating the marriage of Louis XIV in 1660; Velasco's version was written to celebrate the 18th birthday of Philip V of Spain. Musically, it can come across as repetitious, but I believe that is because of its fusion with the rhetorical conventions of de la Barca's verses. With the right kind of instrumental realization the results can be arresting--especially when all the percussive and plucked instruments we associate ever since with Spanish music are used. I have both the recordings by the Harp Consort and Ensemble Elyma--both are good, with the latter having the advantage of native Spanish speakers in the cast and chorus.


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## JSBach85 (Feb 18, 2017)

I always want what I don't own. Sounds familiar? I am now listening this opera: L'incoronazione di Dario by Vivaldi. Is fully uploaded to youtube:

L'incoronazione di Dario - Accademia Bizantina/Dantone





The recording if someone is interested:


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## JSBach85 (Feb 18, 2017)

Pugg said:


> ​Handel. : Alcina
> Long time nothing and then: Purcell / Dido: Troyanos et al.


I don't own any recoding of Alcina. This one is quite interesting, I wonder how good is compared with Curtis. Curtis conducting Handel tends to be a little flat. I don't have any question this one may be better than Curtis.


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## JSBach85 (Feb 18, 2017)

StDior said:


> And favorite oratorios, which can (?!) be performed as opera:
> Caldara: Maddalena ai piedi di Cristo


I would say is an oratorio. Anyway, my two cents you have or have listened the recording by Schola Cantorum Basiliensis. There is no better Caldara than this recoding, I absolutely like it in any aspect. The vocal casting is among the best I have ever found:

Maria Cristina Kiehr, Sopran
Rosa Dominguez, Sopran
Bernarda Fink, Alt
Andreas Scholl, Countertenor
Gerd Türk, Tenor
Ulrich Messthaler, Bass

Thank you to mention, I would like to listen it again.


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## JSBach85 (Feb 18, 2017)

Bettina said:


> My top ten favorite Baroque operas:
> 
> 1. Handel: Giulio Cesare
> 2. Purcell: Dido and Aeneas
> ...


Hi Bettina, thank you for your reply. Your list is close to my taste, except I still haven't listened to Cavalli La Calisto opera.
Purcell: The Fairy Queen is not among my favourites, has amazing instrumental parts but I felt is a little childlike. I will listen to it again, I own Gardiner recording.


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## Pugg (Aug 8, 2014)

JSBach85 said:


> I don't own any recoding of Alcina. This one is quite interesting, I wonder how good is compared with Curtis. Curtis conducting Handel tends to be a little flat. I don't have any question this one may be better than Curtis.


I have only two others both with Dame Joan Sutherland. I would stay away from those two if I where you.
The one with Fleming I've seen in Paris, so very fond memories for me.


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## SixFootScowl (Oct 17, 2011)

JSBach85 said:


> I always want what I don't own. Sounds familiar? I am now listening this opera: L'incoronazione di Dario by Vivaldi. Is fully uploaded to youtube:
> 
> L'incoronazione di Dario - Accademia Bizantina/Dantone
> 
> ...


Not the most becoming album cover. I might take interest in this one but would have to see the synopsis, and Wikipedia does not have it. I do have a Vivaldi opera, Ottone in Villa, that does not interest me right now, perhaps for lack of mezzos.


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## StDior (May 28, 2015)

> Originally Posted by *JSBach85*
> I would say is an oratorio. Anyway, my two cents you have or have listened the recording by Schola Cantorum Basiliensis. There is no better Caldara than this recoding, I absolutely like it in any aspect. The vocal casting is among the best I have ever found:
> 
> Maria Cristina Kiehr, Sopran
> ...


Yes I like that version too.
It is on the appreciated "1001 Classical Recordings You Must Hear Before You Die" list too:
http://rateyourmusic.com/list/Sator...u_must_hear_before_you_die__2007_us_edition_/


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## gellio (Nov 7, 2013)

Fritz Kobus said:


> Well, I am having difficulty listening to Monteverdi. I tried a couple more times and just didn't like it.


I'm with you. I don't classify Monteverdi as baroque because he's renaissance, and I just don't like music from the renaissance period. He really was a transitional composer - he brought us from renaissance into baroque, but to me his music is much more renaissance than baroque.


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## Jacck (Dec 24, 2017)

my top5 baroque operas

Rameau - Les Boréades
Purcell - King Arthur
Lully - Armide
Charpentier - Medée
Monteverdi - L'incoronazione di Poppea


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## gellio (Nov 7, 2013)

Musically, I think this is far and away the single greatest baroque opera (at least of the ones I've heard). It's one thrilling or sublimely beautiful aria after another. The duet is glorious, and final chorus riveting.


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## Meyerbeer Smith (Mar 25, 2016)

gellio said:


> View attachment 116269
> 
> 
> Musically, I think this is far and away the single greatest baroque opera (at least of the ones I've heard). It's one thrilling or sublimely beautiful aria after another. The duet is glorious, and final chorus riveting.


And, of course, this:


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## Meyerbeer Smith (Mar 25, 2016)

Fritz Kobus said:


> Not the most becoming album cover. I might take interest in this one but would have to see the synopsis, and Wikipedia does not have it. I do have a Vivaldi opera, Ottone in Villa, that does not interest me right now, perhaps for lack of mezzos.


_Dario _is a deft, clever work, more comical than heroic opera seria. The setting is the Persian court in the sixth century BC; Cyrus the Great has died, and Persian nobles, including Dario (Darius), are jockeying for power. They agree that whoever wins the heart of Cyrus's daughter Statira will rule. Statira, though, is alarmed to hear suitors want her heart, her lips, or her bosom; they're hers, and she doesn't want to be deprived of her body parts. Statira, in fact, is naïve (if not simple, or even mentally underprivileged) - so naïve she then promises her hand to three suitors simultaneously. Her sister, the evil Argene, is also in love with Dario, and wants the throne; she orders Statira to be left in a forest for wild bears to eat. Darius rescues her, and rises to the throne, with Statira at his side.

The libretto was written by one Adriano Morselli, and first set by Domenico Freschi in 1684. It was, in fact, something of a throwback. "The profusion of various forms of arias and ensembles, opposed to the hegemony of the da capo aria," Frédéric Delaméa writes, "the presence of several arias at the start of a scene, and the incursion of arioso passages into a plethoric libretto boasting over 50 scenes, represented a virtually overt stylistic rebellion against the new dogmas."

The libretto may be old, but the fast pace, complex plot, flexible musical style, and comic tone anticipate Mozart or Rossini. It's a delightful opera that would doubtless work well on stage. The music is consistently elegant and tuneful, though rarely hitting the heights of _La verità in cimento_ or _Orlando furioso_.


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## gellio (Nov 7, 2013)

Fritz Kobus said:


> Not the most becoming album cover. I might take interest in this one but would have to see the synopsis, and Wikipedia does not have it. I do have a Vivaldi opera, Ottone in Villa, that does not interest me right now, perhaps for lack of mezzos.


I am just discovering Vivaldi operas. I have _Farnace_, _Ercole sul Termodonte_, _Orlando furioso_, _Griselda_ and _L'incoronazione di Dario_. The first two on the Erato (Virgin) label, the last three on the Naive label. I like them all. I think _Farnace_ is the best followed by _Orlando furioso_ - both are wonderfully conducted, acted, and have stellar casts. _Artaserse_, however, is one of the greatest things I have ever heard. I'm going to be plugging that for months.


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## gellio (Nov 7, 2013)

Still obsessed with _Artaserse_ - are there any other fans of this work on here (besides you, Dr. Shatterhand  )!


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## SixFootScowl (Oct 17, 2011)

gellio said:


> Still obsessed with _Artaserse_ - are there any other fans of this work on here (besides you, Dr. Shatterhand  )!


Is there a recording available with no countertenor? I might give it a try.


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## Meyerbeer Smith (Mar 25, 2016)

Fritz Kobus said:


> Is there a recording available with no countertenor? I might give it a try.


It has six (!) countertenors (two in drag) and a tenor. Give it a try.

Apparently there's a female version (Kassel 2015) with rampant lesbianism and only one countertenor, but the cast isn't as strong.


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## SixFootScowl (Oct 17, 2011)

Dr. Shatterhand said:


> It has six (!) countertenors (two in drag) and a tenor. Give it a try.
> 
> Apparently there's a female version (Kassel 2015) with rampant lesbianism and only one countertenor, but the cast isn't as strong.


I'll pass on either of those options.


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## DavidA (Dec 14, 2012)

Handel Alcina. Try the Christie version. Superb singing. I’m really enjoying some of the Handel operas which I am collecting


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## ldiat (Jan 27, 2016)

gellio said:


> Still obsessed with _Artaserse_ - are there any other fans of this work on here (besides you, Dr. Shatterhand  )!


i am a fan of this one also!!:clap:


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## ldiat (Jan 27, 2016)

and i also like Handel 1724 Giulio Cesare


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## gellio (Nov 7, 2013)

I'm struggling with _Giulio Cesare_, even though the music is just fantastic, because it is so long. I listen to it in snippets but will never ever ever never ever see it in the opera house. Good grief - with all the recitative removed it clocks in at 3 hours and 55 minutes.


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## gellio (Nov 7, 2013)

Fritz Kobus said:


> Is there a recording available with no countertenor? I might give it a try.


No, the recording is one tenor and five countertenors. I am in complete awe with countertenors. What they do vocally is astonishing. If you like baroque opera I'd advise giving it a try. It reminds me of Mozart's operas in the sense that it just one brilliant idea after another. The music is just fantastic and the performances are out of this world. I can listen to it multiple times per day.


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## Granate (Jun 25, 2016)

After 5 years, we are organising in TC the next poll of Operas and Opera recordings. We are currently re-doing with a poll the Top 100+ Operas of all time, and any member with a consistent top can vote throughout the next months.

This is a call for all the opera fans (I'm targeting both Baroque and Contemporary since the Late Romantic fans have voted massively) to vote in this poll, even come up with a rank of operas since the 100 most voted and recommended will lead to a Recordings poll that will be published next year and will remain sticky until a new poll is made, probably by 2025.

Positions 1-10 will be decided by the end of the week, *closing Round 1 this friday and letting members vote on the weekend for the definitive positions.*

Visit *The 2020 TC Top 100+ Most Recommended Operas List* to read the rules and vote
Visit *Discussion: The 2020 Talk Classical Top Recommended Opera CDs and DVDs* to discuss the voting issues about both operas and recordings


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## SixFootScowl (Oct 17, 2011)

gellio said:


> No, the recording is one tenor and five countertenors. I am in complete awe with countertenors. What they do vocally is astonishing. If you like baroque opera I'd advise giving it a try. It reminds me of Mozart's operas in the sense that it just one brilliant idea after another. The music is just fantastic and the performances are out of this world. I can listen to it multiple times per day.


This one (Artaserse) isn't even Handel, is it?

I am determined to find one with an all female cast, even if I have to piece several sets together!


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## Rogerx (Apr 27, 2018)

Alcina, above all, Sutherland on no 1 Fleming no 2


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## Meyerbeer Smith (Mar 25, 2016)

Fritz Kobus said:


> This one (Artaserse) isn't even Handel, is it?
> 
> I am determined to find one with an all female cast, even if I have to piece several sets together!


No, it's not Handel; it's by Leonardo Vinci (no relation). ("Not even" Handel?)

Vinci was one of the masters of Neapolitan opera, praised by his contemporaries for the vigour and elegance of his style. Burney called him the "Lully of Italy" (this was a compliment); while Rousseau (_Lettre sur la Musique Françoise_, 1753) thought that Vinci was one of the first to make MUSIC, rather than simply harmony and sounds.

_Artaserse _(1730), his last opera, is considered his masterpiece; De Rochemont (_Réflexions sur l'Opéra_, 1755) even thought it "the most beautiful opera of Italy". Even these days, people (some on this forum) have listened to it non-stop for weeks; one says it's his favourite opera after _The Marriage of Figaro_, while another was inspired to create a graphic novel. And, of course, it has one of the greatest arias of all time - plus, as Gellio said, a whole host of thrilling and sublimely beautiful arias.

There were plenty of excellent Baroque opera composers besides Handel! Vivaldi's probably the best-known, but Porpora's wonderful. Handel was rather outside the European mainstream: most of his operas were performed in England and sometimes in Germany; only a few of the early ones were performed in Italy, including _Agrippina_. And he only set one Metastasio libretto.


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## SixFootScowl (Oct 17, 2011)

Dr. Shatterhand said:


> No, it's not Handel; it's by Leonardo Vinci (no relation). ("Not even" Handel?)


This one here is by Hasse. Any good?


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## ldiat (Jan 27, 2016)

Rogerx said:


> Alcina, above all, Sutherland on no 1 Fleming no 2


WOW a triple like!


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## ldiat (Jan 27, 2016)

i like this one also.


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## SixFootScowl (Oct 17, 2011)

ldiat said:


> i like this one also.


I have that DVD. It is very good.


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## Rogerx (Apr 27, 2018)

Claudio Monteverdi - L'Orfeo

Orfeo : Philippe Huttenlocher (baryton)
Euridice : Dietlinde Turban (soprano)
La Musica - La speranza : Trudeliese Schmidt (soprano)
Apollo : Roland Hermann (ténor)
Proserpina - La messaggera : Glenys Linos (soprano)
Plutone : Werner Gröschel (basse)
Caronte : Hans Franzen (basse)
Ninfa : Suzanne Calabro (soprano)


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## Autumn Leaves (Jan 3, 2014)

I have still only listened to just a few baroque operas, but my favorites are definitely Händel's _Guilio Cesare_ and _Agrippina_. As for _Cesare_, I prefer the 1984 film with Janet Baker and Valerie Masterson and the 2005 Glyndebourne recording with Sarah Connolly and Danielle de Niese.

And with _Agrippina_, my unmatched favorite is this 1985 production - I know that Otho is turned into a baritone, Nero into a lyrical tenor, and there are several cuts, but the cast are just brilliant in terms of both singing and acting. Especially Barbara Daniels and Janice Hall as Agrippina and Poppaea respectively.


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## nina foresti (Mar 11, 2014)

Q: What are my favorite baroque operas?
A: The ones that are "broke". :tiphat:


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## SixFootScowl (Oct 17, 2011)

nina foresti said:


> Q: What are my favorite baroque operas?
> A: The ones that are "broke". :tiphat:


I must say one has to be in the mood for Baroque opera. I'll take the sung-in-English Julius Ceaser with Janet Baker.


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## BobBrines (Jun 14, 2018)

Interesting thread back from the dead.

I have just started exploring the baroque vocal repetuar. I have listened to a number of Vivaldi and Handel operas. I own Vivaldi's Griselda, Farnace and Teuzzone and the oratorio Juditha triumphans. I have a lot of the Handel operas and oratorios from a Bach Guild Big Box. Rinaldo and Giulio Cesare being my favorite.

Being a Vivaldi aficionado, I was surprised to find that Vivaldi reused the ritornello from "Scherza l'aura lusinghiera" in Farnace for the third movement of the violin concerto RV349. Not only is the ritornello intact, the theme is used as the accompaniment for the second episode, something Vivaldi rarely did. Listening to the two movements one after the other is an insight into how Vivaldi worked. 

It was not unusual for Vivaldi to reuse material. "Ti Sento, si, ti sento" from Teuzzone became the first movement of the recorder concerto RV442. The ritornello and first episode are identical and the second episode of RV442 is identical to the B section of the aria. Further, the second movement of RV442 is identical to the ritornello and first episode of "Se lascio d,amorare" from the pastiche La Virtù trionfante dell’amore e dell’odio vero il tigrine.


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