Track Listing

Disc 1:

1. Ouverture
2. Recitativo & Aria: Delle Nostre Fatiche: Sovra Balze Scoscese
3. Recitativo: Signor, Gia Dal Tuo Senno
4. Aria: Combatti Da Forte
5. Recitativo & Aria: Questi Saggi Consigli: Qgn'indugio
6. Chiamata/Recitativo: Signor, Che Delle Stelle: Sulla Ruota Di Fortuna
7. Aria: Sibilar Gli Angui
8. Recitativo: Goffredo, Se T'arrise
9. Aria: No, No, Che Quest'alma
10. Recitativo & Aria: Infra Dubbi Di Marte Vieni, O Cara
11. Aria: Furie Terribili
12. Recitativo & Accompagnato: Come A Tempo Giungesti
13. Aria: Molto Voglio
14. Aria: Augelletti
15. Recitativo: Adorato Mio Sposo
16. Duetto: Scherzano Sul Tuo Volto
17. Recitativo & Preludio: Al Valor Del Mio Brando
18. Aria: Cara Sposa

Disc 2:

1. Recitativo: Ch'insolito Stupore
2. Aria: Cor Ingrato
3. Recitativo: Io All'ora Impugno Il Brando
4. Aria: Col Valor
5. Recitativo & Aria: Di Speranza Un Bel Raggio Venti, Turbini
6. Aria: Siam Prossimi Al Porto
7. Recitativo: A Quel Sasso Bramato
8. Aria A 2: Il Vostro Maggio
9. Recitativo: Qual Incognita Forza
10. Aria: Il Tricerbero Umiliato
11. Recitativo & Aria: Signor, Strano Ardimento! Mio Cor, Che Mi Sai Dir?
12. Sinfonia
13. Recitativo: Armida Dispietata!
14. Aria: Lascia Ch'io Pianga
15. Recitativo: Tu, Del Mio Cor Reina
16. Aria: Basta Che Sol Tu Chieda
17. Recitativo: Cingetemi D'allori
18. Duetto: Fermati
19. Recitativo: Crudel, Tu Ch'involasti
20. Aria: Abbrucio, Avvampo E Fremo
21. Recitativo: Dunque I Lacci D'un Volto
22. Aria: Ah, Crudel
23. Recitativo: Riprendiam D'Almirena
24. Aria: Vo'far Guerra

Disc 3:

1. Recitativo: Quivi Par Che Rubelle
2. Sinfonia
3. Recitativo & Aria E Recitativo: Qui Vomita Cocito Andate, O Forti
4. Preludio
5. Aria: Sorge Nel Petto
6. Recitativo: Al Trionfo S'affretti E' Un Incendio
7. Recitativo: Chiuso Fra Quelle Mura
8. March
9. Recitativo & Duetto: In Quel Bosco: Al Trionfo Del Nostro Furore
10. Recitativo & Aria: Di Quei Strani Accidenti: Bel Piacere
11. Recitativo: Signor, L'oste Nemica
12. Aria: Di Sion, Nell'alta Sede
13. March & Recitativo: Se Cio Te In Grado
14. Aria: Or La Tromba
15. Recitativo: Miei Fidi
16. Battaglia
17. Recitativo: Goffredo, Ecco Il Superbo
18. Coro: Vinto E Sol Dalla Virtu

Product Details

• Amazon Sales Rank: #91062 in Music
• Released on: 2003-04-07
• Number of discs: 3
• Format: Box set
• Dimensions: .72 pounds
• Running time: 193 minutes

Customer Reviews

Interesting but flawed
Generally a fan of Rene Jacobs, I have to say that this is very frustrating recording of Rinaldo. A generally excellent cast has been assembled for a recording full of quirks, some interesting but mainly irritating. When played 'straight' Jacobs' characteristic mastery shines through but ultimately, he has tinkered too much this time.

In the title role, Vivica Genaux is something of a mixed bag. Her 'Cara sposa' is, frankly, ugly but later on - particularly in the faster, more dramatic arias she is much more impressive and certainly more dramatic than the sweeter toned David Daniels for Hogwood. As her beloved Almirena, Miah Persson is entirely delightful and a vast improvement on Hogwood's choice of Cecilia Bartoli whom I thought very unsuited to the role. The two countertenors, Christophe Dumaux and Lawrence Zazzo are very good indeed - real discoveries, although I marginally prefer the beefier tones of Bernarda Fink's Goffredo on Hogwood. As the 'bad couple', James Rutherford proves the only big disappointment for me in this cast, sounding rather old and tired for such a young singer and making a considerable meal of his first aria (which Jacobs conducts far too slowly). Both Gerald Finley and Ulrik Cold are much better on rival versions. His consort Armida is daringly taken by the exciting Inga Kalna who swoops and loops up and down the octaves quite alarmingly. This is impressive singing and she also displays a much sweeter, sexy tone in the quieter moments. It's a shame then that her showpiece aria 'Vo far guerra' is rendered virtually unlistenable by the appallingly dull and repetitive harpsichord passages either side. There is some historical precedent for these apparently but they are a huge mistake in my opinion.

To sum up then, this is an interesting set and if - like me - you don't mind having more than one set, it's worth hearing for the cast. However, despite Bartoli's heavy and unconvincing soprano turn as Almirena, Hogwood would be my first choice.

Rinaldo
Rene Jacobs, after a period away from Handelian operatic recordings, has returned with Harmonia Mundi to give us a thrilling, if not too authentic, production of Handel's first London opera - Rinaldo (1711). This recording, based on extensive live performances (Innsbruck) does not quite have the 'authority' of Christopher's Hogwood's Decca alternative, not least because of the slightly questionable use of 'quirky' accompaniments and continuo. I dare say that, in live performance, these quirks are not so noticeable, but in repeated listening they become downright irritating.

This is a shame because virtually all the soloists are thoroughly committed to their parts, both technically and emotionally. Lawrence Zazzo and Christoph Dumaux are convincing in the roles of Goffredo and Eustazio, both of them without the traditional countertenor 'hoot' - in fact both produce sweet sounds - even across the various registers and duly agile in the coloratura. A third countertenor, the veteran Dominique Visse, a Jacobs regular, is typically characterful as the Mago Christiano and as the Herald.

Argante, sung by James Rutherford, seems rather underpowered when compared to his CD rivals Ulrik Cold (Malgoire) and Gerald Finley (Hogwood) but is musical nonetheless. The sorceress role of Armida is sexily sung by Inga Kalna far outstripping Luba Organasova for Hogwood. Miah Persson (Almirena) is a much more convincing performer in this role than Cecilia Bartoli had been for Decca, her voice more suited to this style of opera.

But the title role is the one which makes or breaks recordings such as this. No one can deny Vivica Genaux's technique or her bravura ability, but despite wonderful reviews for the live stage performances, her voice does not sound 'right' for the heroic demands of Rinaldo's arias such as Cara Sposa, Or La Tromba or Venti Turbini.

Once again, with Harmonia Mundi, the sound is excellent and production qualities unrivalled, despite Rene Jacobs' claims in the booklet. We have here an excellent recording of one of Handel's best operas, but one which suffers from 'tinkering' and questionable artistic choices which this review found unnecessary.

What went wrong?
I would like to start this review by saying that I consider myself to be a Jacobs fan. As sublime as his recording of "Giulio Cesare" may be, this one is a truly erratic interpretation. He leads a stunning orchestra and mostly unknown but very brilliant cast - the woman singing Armida really lets the sparks fly - but the performance makes one feel as though one is being lectured to, and not entertained. Maybe it’s me, but I think something has gone wrong here.
This is a generally good performance marred by very bad taste. As the other extant recordings of "Rinaldo" are not much better I would have to recommend this one.