Alessandro Scarlatti - Griselda - René Jacobs & Akademie für Alte Musik - 2003 (3 SACD-R, ISO)

Alessandro Scarlatti – Griselda – René Jacobs & Akademie für Alte Musik – 2003 (3 SACD-R, ISO)

Composer: Alessandro Scarlatti (1660-1725)
Orchestra: Akademie für Alte Musik
Conductor: René Jacobs
Audio CD
Number of Discs: 3 SACD-R
Format: ISO
Bit Depth: 64(2.8 MHz/1 Bit)
Number of channels: 5.0, 2.0
Label: Harmonia Mundi
Size: 8.33 GB
Recovery: +3%
Scan: yes
Server: rapidgator

René Jacobs & Akademie für Alte Musik
Alessandro Scarlatti — Griselda

Dramma per musica in tre atti (1721)


01. Sinfonia
02. Atto Primo Scena 1 Recitativo & Coro Gualtiero – Questo, o Popoli / Or sei grande
03. Atto Primo Scena 2 Recitativo Griselda, Gualtiero – Eccoti, o Sire
04. Atto Primo Scena 2 Aria Griselda – In volver ciò che tu brami
05. Atto Primo Scena 3 Recitativo Ottone, Griselda, Gualtiero – Resta, e saprai
06. Atto Primo Scena 3 Aria Gualtiero – Non sospira l’amor d’un regnante –
07. Atto Primo Scena 4 Recitativo Ottone, Griselda – Regina, se più badi
08. Atto Primo Scena 4 Aria Griselda – Nell’ aspro mio dolor
09. Atto Primo Scena 5 Recitativo & Aria Ottone – Troppo avvezza è Griselda / Chi Regina
10. Atto Primo Scena 6 & 7 – Sinfonia per lo sbarco
11. Atto Primo Scena 6 & 7 Aria Roberto – ome presto nel porto crudele
12. Atto Primo Scena 6 & 7 Recitativo Corrado, Roberto, Costanza – Germani, e ben entrambi
13. Atto Primo Scena 6 & 7 Aria Costanza – Bel labbro, ancor non sai – Aria Costanza
14. Atto Primo Scena 8 Recitativo Gualtiero, Corrado – L’arcano in te racchiudi
15. Atto Primo Scena 8 Aria Gualtiero – Vago sei, volto amoroso
16. Atto Primo Scena 9 Recitativo Corrado, Roberto & Aria Costanza – Omai più / Godi, bell’ alma
17. Atto Primo Scena 10 & 11 Recitativo Corrado, Roberto – Roberto, i nostri venti
18. Atto Primo Scena 10 & 11 Aria Roberto – Non vi vorrei conoscere
19. Atto Primo Scena 13 Recitativo Gualtiero, Griselda – Come! Tu nella reggia
20. Atto Primo Scena 13 Aria Gualtiero – Che bella tirannia
21. Atto Primo Scena 14 Recitativo Griselda, Ottone – Everardo, o soave
22. Atto Primo Scena 14 Aria Griselda – Di’ che sogno o che deliro
23. Atto Primo Scena 15 Recitativo & Aria Ottone – Con beltà sì proterva
24. Atto Primo Scena 16 Recitativo Corrado, Costanza – Son le regie tue stanze
25. Atto Primo Scena 16 Aria Corrado – Recitativo & Coro Gualtiero – Non lasciar d’amar chi t’amar sei grande
26. Atto Primo Scena 17 Recitativo Costanza, Roberto – Pria che d’amarti io lasci
27. Atto Primo Scena 17 Aria Costanza – Voi sospirate
28. Atto Primo Scena 18 Recitativo & Aria Roberto – Chi vide mai destino eguale al mio


01. Atto Secondo Scena 1 Aria Griselda – Mi rivedi, o selva ombrosa
02. Atto Secondo Scena 2 Recitativo Ottone, Griselda & Aria Ottone – Griselda, anima mia / Colomba innamorata
03. Atto Secondo Scena 3 Recitativo Griselda, Corrado – Ho in petto una sol’ alma
04. Atto Secondo Scena 3 Aria Corrado – Agitata da fiera procella
05. Atto Secondo Scena 4 Recitativo Griselda, Ottone – Figlio, dove t’ascondo
06. Atto Secondo Scena 4 Aria Griselda – Figlio! Tiranno! O Dio!
07. Atto Secondo Scena 5 Recitativo & Aria Ottone – Non giovano lusinghe / Belleze spietate
08. Atto Secondo Scena 6 Recitativo Roberto, Costanza – Ami forse Gualtiero?
09. Atto Secondo Scena 6 Aria Roberto – Tu non intendi
10. Atto Secondo Scena 7 Recitativo Gualtiero, Roberto, Costanza – Dove, o Roberto?
11. Atto Secondo Scena 7 Aria Gualtiero – Luce mia bella
12. Atto Secondo Scena 9 Recitativo & Aria Costanza – Sì, con Amor mi sdegno / Qualor Tiranno Amore
13. Atto Secondo Scena 10 Recitativo Griselda – È deliquio di core
14. Atto Secondo Scena 10 Aria Griselda – Finirà, barbara sorte
15. Atto Secondo Scena 10 Sinfonia di Caccia
16. Atto Secondo Scena 12 Recitativo Costanza, Griselda – Sola, se ben tu parti
17. Atto Secondo Scena 12 Duetto Griselda, Costanza – Non sei quella; eppure il core
18. Atto Secondo Scena 13 & 14 Recitativo Gualtiero, Costanza, Griselda – De’ tuoi begli occhi è troppo indegno
19. Atto Secondo Scena 13 & 14 Aria Gualtiero – Vorresti col tuo pianto
20. Atto Secondo Scena 15 & 16 & 17 Recitativo Griselda, Ottone, Corrado, Gualtiero, Costanza – Ecco Otton
21. Atto Secondo Scena 15 & 16 & 17 Trio, Gualtiero, Costanza, Griselda – Ti voglio sempre odiar


01. Atto Terzo Scena 5 Recitativo Ottone, Gualtiero – Eccomi innanzi al mio Monarca
02. Atto Terzo Scena 5 Aria Ottone – Mi dimostra il tuo bel dono
03. Atto Terzo Scena 6 Recitativo Gualtiero, Griselda – Griselda; al sol cadente
04. Atto Terzo Scena 6 Aria Griselda – Se il mio dolor t’offrende
05. Atto Terzo Scena 7 Recitativo Gualtiero – Peno, ma per te peno
06. Atto Terzo Scena 7 Aria Gualtiero – Ho in seno due fiammelle
07. Atto Terzo Scena 8 & 9 Aria Roberto – Come va l’ape di fiore in fiore
08. Atto Terzo Scena 8 & 9 Recitativo, Corado, Roberto, Costanza – Dunque sei risoluto
09. Atto Terzo Scena 8 & 9 Duetto Costanza, Roberto – Bella mano
10. Atto Terzo Scena 10 & 11 Recitativo Griselda, Costanza, Roberto, Gualtiero, Corrado – Con sì pudico affetto
11. Atto Terzo Scena 10 & 11 Quartetto Griselda, Roberto, Gualtiero, Costanza (coro) – Non fu mai colpa amor
12. Atto Terzo Scena 13 & 14 Recitativo (tous) – Terminate, o ministri
13. Atto Terzo Scena 13 & 14 Coro – Coronatevi di fiori


Dorothea Röschmann : soprano
Lawrence Zazzo
: contre-ténor
Veronica Cangemi
: soprano
Bernarda Fink
: mezzo-soprano
Silvia Tro Santafé
: mezzo-soprano
Kobie van Rensburg
: ténor

Review by Andrew Clements
The Guardian

This Scarlatti is Alessandro (1660-1725), father of the better known Domenico. Griselda, first performed in Rome in 1721, was Alessandro’s last surviving opera, the last, that is, of what the composer reckoned was over 100 stage works, of which 70 are now ascribed to him. All of them are forgotten now – even in his own lifetime operatic fashion changed, and the older Neapolitan school of Italian opera that Scarlatti had helped to establish was being superseded. Griselda itself only received one performance in the 18th century, and went unperformed until René Jacobs resuscitated the score two years ago for a staging in Berlin.

The original source of the libretto for Griselda was Bocaccio’s Decameron. The operatic adaptation was made first by Apostolo Zeno at the beginning of the 18th century. The version that Scarlatti used was modified from Zeno – made more psychologically penetrating according to Jacobs, but in reality just made wordier and more self-consciously poetic – by his patron Prince Francesco Ruspoli.

Though there is a proliferation of subplots, the central story is an unpleasant one. The king of Sicily, Gualtiero marries the shepherdess Griselda, to the disapproval of his people who think the marriage unworthy of him. In response to their complaints, Gualtiero subjects his wife to all manner of trials and humiliations, which she bears uncomplainingly before conspiracies are revealed and the king sees the error of his ways – and everything can end happily.

In an interview in the booklet that accompanies the Harmonia Mundi set, Jacobs blames Scarlatti’s neglect on the burgeoning popularity of Handel, because, he claims, Handel’s cosmopolitan style has had a wider appeal than Scarlatti’s more explicitly Italianate idiom. That seems slightly cock-eyed reasoning, for it is surely because of Handel that interest in baroque opera in general has increased exponentially in recent years, and other composers, now including Scarlatti, have been the beneficiaries.

The score is a lengthy one – 41 numbers and more than three hours of music, but compared with the best of Handel, both the quality of the musical invention and the dramatic coherence are uneven. Certainly it’s hard to imagine how Griselda would fare were the singing less than first-rate, and Jacobs made sure his cast it a strong one.

Dorothea Röschmann is wonderfully elegant as the totally supine and finally rather infuriating heroine, while the American counter-tenor Lawrence Zazzo swaggers and connives convincingly as Gualtiero, a role originally written for a castrato. With the superb Bernarda Fink in the relatively small part of Roberto, Veronica Cangemi as the couple’s daughter Costanza and Silvia Tro Santafe appropriately villainous as Ottone, there are no weaknesses elsewhere either, and the playing of the Berlin Akademie für Alte Musik projects the typical Jacobs dramatic charge. Definitely worthwhile, and worth hearing.



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