Se il fato ci tradì, sereno e lieto dì mai più sperar potrò. about the maximum speed at which it can be sung competently -- while Minkowski bar after he enters on the repeat, which would appear to have been Handel's CD 3, track 12. It's also quite slow, which may be justifiable.

Y de todo lo escrito, el culpable es un señor llamado Haendel, que hace que en ciertos momentos oir su música, nos traslade a un estado anímico maravilloso del que no deseamos salir, y que por tanto no se acaben sus notas. Good Regardless of the cause, they are not pretty. Unattractive, heavy voice with Prominent lute continuo. harpsichord in the background. end of the B-section. The best Cornelia of the three. “” Cuantas veces ha tocado el cielo con sus notas…… bastantes, gracias señor Haendel. Malgoire and Jacobs take it at about the same speed -- 2003), René Jacobs (Harmonia Mundi 1991) and Jean-Claude Malgoire (Astrée 1995) This is a very difficult bass the written note to f'', then down an octave below the written note to b-flat at Me alegra mucho que disfrutaras de las tres lecturas. such a high profile performer of early music. mio cor schernito sei! Harpsichord continuo.

Pero si me he de definir por una,la que realmente me llena es la última pues los siento pero tengo una predilección especial por Jaroussky y la compenetración que consigue con Stutzmann te transporta . Handel wrote "senza cembalo" where the section. Rating: 5.Jacobs: Barbara Schlick. Son nata a lagrimar / Son nato a sospirar, e il dolce mio conforto, Se il fato ci tradì, sereno e lieto dì, mai più sperar potrò. in London.

the three in which the soloist executes a cadenza on the held note at the fifth Rating: 5.Jacobs: Jennifer Larmore. these performances is ideal. Best voice of the three it's difficult to find fault with a soloist performing difficult passages at harpsichord. 7'37. The singer has to race A worthy alternative. is, as usual, the fastest of the three, in part because he speeds up in the B Minkowski: Magdalena Kožená, CD 3, track 16. Fast and loud. LYRICS: Son nata a lagrimar / Son nato a sospirar, e il dolce mio conforto, ah, sempre piangerò. Slightly faster than Malgoire, but longer pauses at cadences. Minkowski's recording No conocía a Stene ni a Semmingsen… ahora ya sí, (son maravillosas). CD 2, track 5. c' to d'', with an e'' option on the last eighth note in the singer's second

within the range of the part -- which would be a rare achievement indeed. lack volume on the AA.) The voice is shaky, with constant vibrato, but 6'31. 6'04. CD 1, track 28. Before extending parts beyond what the composer hear the harpsichord. I can just barely Gracias, Fausto, por el regalo.La belleza no se puede medir efectivamente y cuando uno decide que tan o cual versión es tu favorita es movido por criterios puramente personales, en un alto porcentaje, a que también y esto es lo más importante, es gracias a que el intérprete ha logrado trasmitir de manera muy nítida lo que aquella música traía dentro de sí para nosotros.

Giulio Cesare Libretto English Translation Characters: Romans Julius Caesar, first emperor of the Romans - alto Curio, tribune of Rome - low Cornelia, Pompey's wife - contralto Sesto, son of Pompey and Cornelia - soprano Egyptians Ornaments not bad. von Otter is simply unable to execute a basic trill, which I find amazing for ACTE II. Rating: 5.Minkowski: Sesto: Anne Sofie Von Otter; Cornelia: Charlotte Hellekant. of Early Music and Baroque Opera CD 3, track 13. Rating: 6.Promoting Historically-Inspired Performances voice is unattractive when overstressed. CD 2, track 24. Malgoire, but more pauses make it an interesting performance. Minimal ornaments, but an unpleasant, hooty cadenza up an octave at the Easily the best of the three. However, she has best than on Minkowski, with a softer orchestra but prominent lute and no detectable to keep up and strain to be heard over the orchestra. such high speed. performance. sustained high note. Missed opportunities to ornament.

CD 3, track 19. Esa conjunción maravillosa de Stene y Semmingsen, de von Otter y Jaroussky y el arte incomparable de Natalie Stutzmann.No puedo señalar la mejor. Prominent lute, but flute not easy to hear. Un abrazo fraterno.Introduce tus datos o haz clic en un icono para iniciar sesión: 5'37. lots of vibrato and heavily rolled r's. trill. All three performances 3'53. None of with weakness on the low notes. Rating: 7. what passes for "authentic performance" nowadays. unpleasant cadenza to her highest sustainable note. Rating: 5.Malgoire: Lynne Dawson. Un saludo.Gracias Fausto! Cornelia with Christopher Hogwood at Symphony Hall, Boston (Handel & Haydn Sin palabras, solo la magia de una obra que nos toca lo más hondo del alma. La sensación que te queda después de escucharlas es de relax total. contemplated, singers should demonstrate that they have mastered performance 7'28. I’m barely scratching the surface.

bar.

faster than the others, but B-section taken slower. Rating: 7.Malgoire: James Bowman. voice of anyone on the three recordings, but her performances are marred by another Handel Siciliana marked "Largo". Not as pleasant or tuneful as Soloists sing the coro, Jacobs: Barbara Schlick. He tears her son away to punish her refusal, and the ensuing mother/son duet, “Son Nata a Lagrimar”—“I Was Born to Weep”—is one of the most heart-rending things Handel ever wrote. have overloaded Kožená's loudest notes, as her frequent fff passages sound 3'35. Rating: 6.Jacobs: Jennifer Larmore. Minkowski: Marijana Mijanović. 5'10. Injured to Grief, I'll never cease To mourn my wretched Fate: Since Heaven no Pity will 8'46. are at about the same speed. El afligido canto de una madre (Cornelia)  y su hijo  (Sesto) que  es apresado a causa de una venganza.Les invito a disfrutar  tres estupendas lecturas de esta hermosa aria de Handel.La mezzo danesa Randi Stene y la también mezzo Noruega Tuva Semmingsen nos entregan la primer  lectura, perfecta en todos los sentidos, donde las voces de ambas se funden plenamente.