This page lists all recordings of M'ai resa infelice (from Deidamia), by George Frideric Handel (1685-1759) on CD, SACD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.
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Sandrine Piau, Topi Lehtipuu, Patricia Petibon, Robert Expert, Bernarda Fink, Maria Bayo, Lucy Crowe, Richard Croft, Karina Gauvin, Marie-Nicole Lemieux, Deborah York & Sara Mingardo
‘Zadok the priest and Nathan the prophet anointed Solomon King. And all the people rejoiced and said: God save the King! Long live the King! May the King live for ever! Alleluia! Amen.’ These words were sung by the combined choirs of the Chapel Royal and Westminster Abbey at the coronation of King George II of England on 11 October 1727. The impact of the first choral entry after a long instrumental introduction is so unforgettable that since then the anthem 'Zadok the Priest' has been sung at the Unction of each new British sovereign.
The event thus marked a consecration of sorts for its composer, born Georg Friedrich Händel in 1685 at Halle in Saxony and transformed into George Frideric Handel, British subject, by Act of Parliament dated 20 February of that same year 1727. He was to enjoy his most lasting success with a work devoid of action and dramatic protagonists, which set out the very basis of Christian doctrine in words drawn entirely from the Bible: 'Messiah', given its first performance in Dublin in 1742.The grandeur and sublime simplicity of the ‘Hallelujah Chorus’ so moved King George II that he rose from his seat; ever since then, it has been the tradition in Britain for the audience to stand for this movement. Handel's 'Largo' is now synonymous with Harrods' adverts, 'Zadok' has prefaced many a Royal or sporting ceremony and, most recently, millions watched the Royal Jubilee Pageant flotilla sail down the Thames to the 'Water Music' in an inglorious downpour.
“suitably majestic renditions of classic pieces by first-rate performers from across Europe” The Independent, 1st September 2012 ****
“From a flute sonata movement to Mozart's respray of Messiah, Naive's Royal Handel anthology is eclectically sourced and regally dispatched.” BBC Music Magazine, December 2012 ****
Usually despatched in 3 - 4 working days.
Baroque Voices 26 - Handel: Opera Seria
An anthology devoted to the Handelian prima donna that features arias composed over more than two decades for some of the greatest divas of the time. Sandrine Piau’s recital, recorded in 2004, illustrates the rich hedonism of Handel’s vocal style.
Usually despatched in 3 - 4 working days.
Handel - Operatic Arias
“Bell ... is, quite simply, one of the most beautiful things you will ever hear” The Guardian
“Emma Bell gets better and better. This sparkling recording confirms her reputation as one of the most exciting of the younger generation of Handelians. It's the suppleness of the voice that excites, with trills that really trill and scales that effortlessly climb the heights above the stave. Richard Egarr directs a Scottish Chamber Orchestra on its very best behaviour with fine string playing throughout and a magnificently angry trumpet obbligato in the aria from Amadigi.” BBC Music Magazine, October 2005
“Here is a voice of glowing quality - bright yet creamy in texture, weighty yet pure - which is matched by fine musical imagination and a masterly control of technique. …Bell's ability in lyrical arias to float the most exposed high notes with no hint of an upward slide makes for ravishing results.” Gramophone Magazine, December 2005
BBC Music Magazine
Opera Choice - October 2005
Usually despatched in 4 - 5 working days.
Handel - Opera Seria
“Sandrine Piau and Christophe Rousset have been consistently stylish and perceptive Handelians together. Their musical flair and dramatic intelligence is marvellously captured here, and they have chosen arias that explore the full range of Handel's genius.
The experience starts with the spectacular 'Scoglio d'immota fronte', and the subsequent sequence weaves through wonderful contrasts.
It's hard to capture the full dramatic sense and vivid personality of Handel's opera characters in a studio recital, yet they hit the bullseye every time, bringing out Cleopatra's despair, Rodelinda's eloquent grief for her apparently deceased husband, the heartbroken sorceress Melissa in Amadigi di Gaula, Deidamia's distress at losing Achilles to the Trojan war, and Partenope's gorgeous charisma.
Although some da capo sections stray a little too far from Handel's notation for the comfort of scholars, they all enhance the drama of the text, and each cadenza, showing panache and taste, is a breath of fresh air. The playing of Les Talens Lyriques is a model of clarity, vitality and theatrical wit. It was an inspired decision to close the recital with the sublime understatement of 'Son qual stanco', featuring a heartbreaking cello solo by Atsushi Sakaï. Rousset and Piau achieve the perfect synthesis of elegance, extravagance and emotion. This is may be the finest recital of Handel arias ever recorded.” Gramophone Classical Music Guide, 2010
(also available to download from $10.75)
Usually despatched in 3 - 4 working days. (Available now to download.)
Handel - Opera Arias
Second Overture to Almira in G minor
Vedrai s'a tuo dispetto (Almira Act III)
Perché viva il caro sposo (from Rodrigo)
Vo' far guerra (from Rinaldo)
Overture to Silla
Ah! spietato (from Amadigi di Gaula)
Desterò dall'empia dite (from Amadigi di Gaula)
V' adoro, pupille (from Giulio Cesare)
Overture to Tamerlano
Cor di padre (from Tamerlano)
Ombre piante, urne funeste (from Rodelinda)
March (Scipione, Act I)
Scoglio d'immota fronte (from Scipione)
Overture to Alessandro
Sinfonia Act 1 (Alessandro)
Che vidi? Che mirai! (from Alessandro)
No, più soffrir non voglio (from Alessandro)
Placa l’alma (Alessandro)
Solitudine amate (from Alessandro)
Aure, fonti (from Alessandro)
Pur troppo veggio (from Alessandro)
Che tirannia d’amor! (from Alessandro)
Svanisci oh reo timore (from Alessandro)
Dica il falso (from Alessandro)
Il ritratto d’Admeto (from Admeto)
La sorte mia vacilla (from Admeto)
Quest’è dunque la fede (from Admeto)
Vedrò fra poco (Admeto, re di Tessaglia)
Morte vieni (from Riccardo primo, re d’Inghilterra)
A me nel mio rossore (from Riccardo Primo, re d’Inghilterra)
Quando non vede (from Riccardo Primo)
A costei, che dirò? (from Siroe, re di Persia)
L’aura non sempre (from Siroe, re di Persia)
Si diversi sembiante (from Siroe, re di Persia)
Non vi piacque, ingiusti dei (from Siroe, re di Persia)
E dove, e dove mai (Tolomeo, re di Egitto)
Fonti amiche (from Tolomeo, re di Egitto)
Ti pentirai, crudel (Tolomeo, re di Egitto)
Overture to Lotario
Scherza in mar (from Lotario)
Io ti levo (Partenope Act I)
Caro padre (from Ezio)
Dite pace (from Sosarme)
Vorrei, né pur saprei (from Sosarme)
Son qual stanco pellegrino (from Arianna in Creta)
Ah! Ruggiero (from Alcina)
Chi t'intende? (from Berenice)
Overture to Deidamia
M'ai resa infelice (from Deidamia)
3 compact discs from CDA66860, CDA66950, CDA67128
“‘It is difficult to pick out a particular highlight, there are so many of them’ (Classic CD) ‘A splendidly enjoyable disc. Kirkby is in top-notch form’ (Hi-Fi News) ‘This CD is appealing on every plane. It’s certainly one of my discs for 1997’ (Gramophone) ‘Right on cue for the bull market in Handel operatic stock, The Rival Queens conquer all before them. A right royal feast!’ (Classic CD) ‘The voices contrast well, and their owners, as well as The Brandenburg Consort, perform this wonderful music with style and an intense sense of affection’ (BBC Music Magazine) ‘Immensely enjoyable’ (Goldberg) ‘A delight … this is singing of brilliance’ (Fanfare, USA) ‘Kirkby’s talent for matching brilliant coloratura with dramatic urgency remains unparalleled … a compelling interpretation of rarely heard masterpieces, this recording is the ideal present for anyone open to Handel’s dramatic compositions” International Record Review
In stock - usually despatched within 1 working day.