This page lists all recordings of Son qual stanco pellegrino (from Arianna in Creta), by George Frideric Handel (1685-1759) on CD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock. |
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See Terms & Conditions for p&p rates. | |  | Passionate Baroque Arias
In 18th-century Italian opera the solo aria – a form of musical expression held in high favour by Humanist culture (owing to its close link with the word) – was the main, indeed almost the exclusive, vehicle for expressing the characters’ feelings and emotions. And the presentation of different expressive situations is surely one of the most characteristic features of Italian opera. Unlike its French counterpart, Italian opera showed little interest in any kind of realistic representation of the plot. Instead it focused on the music. Or more specifically, it concentrated on the capacity of the human voice to arouse emotions, of which love is naturally one of the most frequently encountered. As a result, the diverse facets of love (right down to its idealization or to its sacrifice for reasons of state) form the standard fare of opera plots. It is something of a commonplace to consider 18th-century opera as little more than a battleground for the display of virtuoso singers. But it would be truer to say that the singers became the unchallenged masters of the opera stage precisely because their superb technique and vocal skills made it possible to highlight the emotions and give musical life to the ‘affects’; in other words, to the different states of mind of the various characters. It is no coincidence that the very etymology of the term ‘aria’ (from the Latin aer) is linked to the concept of a musical ‘mode’, in the sense of a ‘manner of singing’. | | | Usually despatched in 4 - 5 working days. |
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| |  | 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. |
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| |  | Lynne Dawson: My Personal Handel Collection
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| |  | Handel - Opera SeriaArias
“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 $10.50) | Usually despatched in 3 - 4 working days. (Available now to download.) |
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| |  | Handel - Opera Arias
Handel: | 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) Scipione Overture 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) Atalanta: Overture 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. |
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Gramophone Magazine