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Handel: Rodrigo / Banzo, Bayo, Al Ayre Espanol

Handel / Al Ayre Espanol / Lopez-banzo
Release Date: 04/28/2009 
Label:  Naive   Catalog #: 132  
Composer:  George Frideric Handel
Performer:  Maria Riccarda WesselingAnne-Catherine GilletMaria BayoSharon Rostorf-Zamir,   ... 
Conductor:  Eduardo Lopez Banzo
Orchestra/Ensemble:  Al Ayre Español
Number of Discs: 3 
Recorded in: Stereo 
CD not available: This title is currently only available as an MP3 download.  

Notes and Editorial Reviews



HANDEL Rodrigo Eduardo López Banzo, cond; Maria Riccarda Wesseling ( Rodrigo ); María Bayo ( Esilena ); Sharon Rostorf-Zamir ( Florinda ); Anne-Catherine Gillet ( Evanco ); Max Emanuel Cencic ( Fernando ); Kobie van Rensburg ( Giuliano ); Al Ayre Read more Español (period instruments) NAÏVE 132 (3 CDs: 156:58 Text and Translation)


Rodrigo is Handel’s fifth opera. His first four operas were written for Hamburg. Almira , the first of them, survives, but Nero, Florindo , and Dafne are almost completely lost. Rodrigo , first performed in the autumn of 1707 (exact date unknown), shows a great advance on Almira after Handel had spent less than a year in Italy; his mature style is already evident.


The first recording of Rodrigo on CD was released in 1999. It is conducted by Alan Curtis and is one of the best of his series of Handel opera recordings. In the pivotal roles of Rodrigo and Esilena, Gloria Banditelli and Sandrine Piau lead a cast without any weak member. Curtis provides strong leadership, with well-chosen tempos, and Il Complesso Barocco provides expert accompaniment, with no unnecessary roughness in sound.


Eduardo López Banzo leads a recording that can be considered a worthwhile alternative to the Curtis recording. His cast is also very strong and fully up to the demands of Handel’s music. The Rodrigo and Esilena, Maria Riccarda Wesseling and María Bayo, make a strong impression in their roles without, however, quite reaching the heights achieved by Banditelli and Piau for Curtis. To give one example, in “Per dar pregio,” the aria for Esilena that ends act I, the soprano has a long held note over which a solo violin (with occasional orchestral support) weaves a series of 16th-note triplets. While Bayo barely makes it to the end without having to take a breath, Piau has the breath control to increase the sound of the held note toward the end and end strongly. Both of the tenors singing Giuliano are very good technically, though I prefer Kobie van Rensburg’s open and ringing voice to the darker voice of Rufus Müller for Curtis. For Fernando, originally an alto castrato, Curtis’s Caterina Calvi has a more attractive voice than López Banzo’s countertenor, Max Emanuel Cencic. Florinda and Evanco are equally well sung on the two recordings.


López Banzo generally paces the opera well, although in a few places he sets a tempo so fast that the singer has to scurry to keep up. Al Ayre Español, which López Banzo founded, plays very well, although the strings have a rougher sound that those of Curtis’s Il Complesso Barocco.


A recently discovered copy of the wordbook issued for the first performance shows that Handel’s autograph score was greatly changed before the first performance. The surviving score of Rodrigo contains six arias that were deleted and replaced by six arias now lost. Many lines of recitative set by Handel were cut before the performance. Both recordings generally follow Handel’s cuts in recitative, although Curtis cuts a few lines more than López Banzo. Virgin’s booklet prints all of the cut recitative, while Naïve’s gives only what is sung.


A couple of aspects of both performances bother me a great deal. Both conductors include two theorbos in their orchestral forces, and both conductors misuse these instruments in continuo. The theorbo invades the baseline of recitatives and often replaces the harpsichord, and sometimes replaces both harpsichord and cello. López Banzo sometimes accompanies recitatives with solo harpsichord. Similar mistakes are made in arias. Occasionally, Handel’s vocal line is ruined in da capo by unidiomatic recomposition instead of ornamentation.


Rodrigo is an opera well worth hearing, and we are fortunate to have two strong recordings from which to choose. Virgin managed to fit Curtis’s recording onto two well-filled discs. Naïve’s recording, a couple of minutes longer than Curtis’s, is spread over three mid-priced CDs. I could be happy with either but would give Curtis the preference because of the presence of Banditelli and Piau.


FANFARE: Ron Salemi
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Works on This Recording

1.
Rodrigo, HWV 5 by George Frideric Handel
Performer:  Maria Riccarda Wesseling (Mezzo Soprano), Anne-Catherine Gillet (Soprano), Maria Bayo (Soprano),
Sharon Rostorf-Zamir (Soprano), Kobie van Rensburg (Tenor), Max Emanuel Cencic (Countertenor),
Eduardo Lopez Banzo (Harpsichord)
Conductor:  Eduardo Lopez Banzo
Orchestra/Ensemble:  Al Ayre Español
Period: Baroque 
Written: 1707; Italy 

Sound Samples

Rodrigo, HWV 5: Overture
Rodrigo, HWV 5: Act I Scene 1: Recitative: Ah monstro, ah furia, ah d'ogni mostro ancora (Florinda, Rodrigo)
Rodrigo, HWV 5: Act I Scene 1: Aria: Occhi neri (Rodrigo)
Rodrigo, HWV 5: Act I Scene 2: Recitative: E tal mi lascia? Oh! spente (Florinda)
Rodrigo, HWV 5: Act I Scene 2: Aria: Pugneran con noi le stelle (Florinda)
Rodrigo, HWV 5: Act I Scene 3: Aria: Nasce il sol, e l'aura vola (Esinela)
Rodrigo, HWV 5: Act I Scene 3: Recitative: Reina, in si bel di, che trascinata (Fernando, Esinela)
Rodrigo, HWV 5: Act I Scene 3: Aria: Agitata da fiato incostante (Fernando)
Rodrigo, HWV 5: Act I Scene 4: Recitative: Esilena? (Rodrigo, Esilena)
Rodrigo, HWV 5: Act I Scene 5: Aria: Dell'lberia al soglio invitto (Giuliano)
Rodrigo, HWV 5: Act I Scene 5: Recitative: Signor, questo reciso (Giuliano, Rodrigo, Evanco, Esilena)
Rodrigo, HWV 5: Act I Scene 5: Aria: Ti lascio alla pena (Rodrigo)
Rodrigo, HWV 5: Act I Scene 5: Recitative: Egregio Duce, il braccio tuo guerriero (Esilena)
Rodrigo, HWV 5: Act I Scene 5: Aria: In mano al mio sposo (Esilena)
Rodrigo, HWV 5: Act I Scene 6: Recitative: Evanco, armato in campo (Giuliano, Evanco)
Rodrigo, HWV 5: Act I Scene 6: Aria: Eroica fortezza (Evanco)
Rodrigo, HWV 5: Act I Scene 7: Recitative: Fra rumori di Marte (Giuliano, Florinda)
Rodrigo, HWV 5: Act I Scene 7: Aria: Stragi, morti, sangue ed armi (Giuliano)
Rodrigo, HWV 5: Act I Scene 8: Recitative: Coronatemi, o sdegni (Florinda)
Rodrigo, HWV 5: Act I Scene 8: Aria: O morte, vendetta (Florinda)
Rodrigo, HWV 5: Act I Scene 9: Recitative: Mentra di mie vittorie lberia esulta (Rodrigo)
Rodrigo, HWV 5: Act I Scene 9: Aria: Sommi Dei, se pur v'offesi (Rodrigo)
Rodrigo, HWV 5: Act I Scenes 10-11: Recitative: Rodrigo, all'armi. O quanto gonfia un core (Fernando, Esilena, Rodrigo)
Rodrigo, HWV 5: Act I Scene 11: Aria: Vanne in campo (Rodrigo)
Rodrigo, HWV 5: Act I Scene 12: Recitative: Un atto grande aspetta (Esilena)
Rodrigo, HWV 5: Act I Scene 12: Aria: Per dar pregio all'amor mio (Esilena)
Rodrigo, HWV 5: Act II Scene 1: Recitative: Evanco, d'Aragona (Giuliano, Evanco, Florinda)
Rodrigo, HWV 5: Act II Scene 1: Aria: Fra le spine offre gli allori (Giuliano)
Rodrigo, HWV 5: Act II Scene 2: Recitative: Florinda, Amore e giusto (Evanco, Florinda)
Rodrigo, HWV 5: Act II Scene 2: Aria: Prestami un solo dardo (Evanco)
Rodrigo, HWV 5: Act II Scene 3: Recitative: Mi balza il core in petto (Florinda, Esilena)
Rodrigo, HWV 5: Act II Scene 3: Aria: Egli e tuo, ne mi riserbo (Esilena)
Rodrigo, HWV 5: Act II Scene 3: Recitative: Di mia vendetta a fronte (Florinda, Esilena)
Rodrigo, HWV 5: Act II Scene 3: Aria: Parto, crudel, si parto (Florinda)
Rodrigo, HWV 5: Act II Scene 4: Recitative: Baldanzosa pieta, quanto contrasto (Florinda)
Rodrigo, HWV 5: Act II Scene 4: Aria: Frede ceneri d'amor (Florinda)
Rodrigo, HWV 5: Act II Scene 5: Aria: Siete assai superbe, o stelle (Rodrigo)
Rodrigo, HWV 5: Act II Scene 6: Recitative: Signor, tutte rinchiuse (Esilena, Rodrigo)
Rodrigo, HWV 5: Act II Scene 6: Aria: Empio fato, e fiera sorte (Esilena)
Rodrigo, HWV 5: Act II Scene 7: Recitative: Signor non sempre cieca (Fernando, Rodrigo, Giuliano)
Rodrigo, HWV 5: Act II Scene 7: Aria: La ti sfido a fiera battaglia (Giuliano)
Rodrigo, HWV 5: Act II Scene 8: Recitative: Se muor Giuliano, Evanco vive (Esilena, Fernando, Rodrigo)
Rodrigo, HWV 5: Act II Scene 8: Aria: Dopo i nembi, e le procelle (Fernando)
Rodrigo, HWV 5: Act II Scene 9: Recitative: Amato sposo, e chi sa mai l'incerte (Esilena, Rodrigo)
Rodrigo, HWV 5: Act II Scene 9: Aria: Dolce amor che mi consola (Rodrigo)
Rodrigo, HWV 5: Act II Scene 10: Recitative: Que piu chiedi Esilena? (Esilena)
Rodrigo, HWV 5: Act II Scene 10: Aria: Si, che lieta godero (Esilena)
Rodrigo, HWV 5: Act II Scene 11: Recitative: All'armi, o prodi, un tradimento enorme (Evanco, Florinda)
Rodrigo, HWV 5: Act II Scene 11: Aria: Su, all'armi (Evanco)
Rodrigo, HWV 5: Act II Scene 12: Recitative: Ferma Florinda, esenti (Fernando, Giuliano, Florinda, Evanco)
Rodrigo, HWV 5: Act II Scene 12: Aria: Alle glorie, alle palme, agli allori (Florinda)

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