Haydn L'infedelta delusa
View record and artist detailsRecord and Artist Details
Composer or Director: Joseph Haydn
Genre:
Opera
Label: Philips
Magazine Review Date: 6/1993
Media Format: CD or Download
Media Runtime: 188
Mastering:
ADD
Catalogue Number: 432 416-2PH3
Tracks:
Composition | Artist Credit |
---|---|
(L') Incontro improvviso |
Joseph Haydn, Composer
Antál Dorati, Conductor Benjamin Luxon, Calandro, Tenor Claes-Håkan Ahnsjö, Ali, Tenor Della Jones, Dardane, Soprano Domenico Trimarchi, Osmin, Baritone James Hooper, Official; Dervish Jonathan Prescott, Sultan; Dervish Joseph Haydn, Composer Lausanne Chamber Orchestra Linda Zoghby, Rezia Margaret Marshall, Balkis, Soprano Nicolas Scarpinati, Dervish |
Ah tu non senti...Qual destra omicida |
Joseph Haydn, Composer
Antál Dorati, Conductor Claes-Håkan Ahnsjö, Tenor Dennis Wicks, Talpa, Bass Florindo Andreolli, Gherardo, Tenor Ileana Cotrubas, Lauretta, Soprano Ileana Cotrubas, Lauretta, Soprano Ileana Cotrubas, Lauretta, Soprano Ingvar Wixell, Michele, Baritone Joseph Haydn, Composer László Polgár, Colas, Baritone Lausanne Chamber Orchestra Michel Sénéchal, Tinca, Tenor Plácido Domingo, Luigi, Tenor Plácido Domingo, Luigi, Tenor Plácido Domingo, Luigi, Tenor Renata Scotto, Giorgetta, Soprano Renata Scotto, Giorgetta, Soprano Renata Scotto, Giorgetta, Soprano Stefania Malagù, La Ciesca, Mezzo soprano |
Se tu mi sprezzi |
Joseph Haydn, Composer
Aldo Baldin, Tenor Angela Maria Blasi, Woglinde, Soprano Angela Maria Blasi, Woglinde, Soprano Angela Maria Blasi, Woglinde, Soprano Antál Dorati, Conductor Ekkehard Wlaschiha, Alberich, Baritone Ekkehard Wlaschiha, Alberich, Baritone Ekkehard Wlaschiha, Alberich, Baritone Helmut Pampuch, Mime, Tenor Helmut Pampuch, Mime, Tenor Helmut Pampuch, Mime, Tenor Jolanta Kaufman, Woglinde, Soprano Jolanta Kaufman, Woglinde, Soprano Jolanta Kaufman, Woglinde, Soprano Joseph Haydn, Composer Lausanne Chamber Orchestra Marjana Lipovsek, Fricka, Soprano Marjana Lipovsek, Fricka, Mezzo soprano Marjana Lipovsek, Fricka, Soprano Nancy Gustafson, Freia, Soprano Nancy Gustafson, Freia, Soprano Nancy Gustafson, Freia, Soprano Penelope Thorn, Third Norn, Soprano Robert Tear, Loge, Tenor Waltraud Meier, Waltraute, Mezzo soprano |
Acide e Galatea |
Joseph Haydn, Composer
Andrea Trauboth, Gerhilde, Soprano Angela Maria Blasi, Wellgunde, Soprano Angela Maria Blasi, Wellgunde, Soprano Angela Maria Blasi, Wellgunde, Soprano Cornelia Wulkopf, Waltraute, Mezzo soprano Joseph Haydn, Composer Kurt Moll, Hunding, Bass Kurt Moll, Hunding, Bass Kurt Moll, Hunding, Bass Marianne Seibel, Ortlinde, Soprano Marjana Lipovsek, Fricka, Soprano Marjana Lipovsek, Fricka, Mezzo soprano Marjana Lipovsek, Fricka, Soprano Nancy Gustafson, Helmwige, Soprano Nancy Gustafson, Helmwige, Soprano Nancy Gustafson, Helmwige, Soprano René Kollo, Siegfried, Tenor René Kollo, Siegfried, Tenor René Kollo, Siegfried, Tenor Robert Hale, Wanderer, Baritone Robert Hale, Wanderer, Baritone Robert Hale, Wanderer, Baritone |
(La) Circe, ossia L'isola incantata, Movement: Terzetto: Lavatevi presto |
Joseph Haydn, Composer
Aldo Baldin, Tenor Andrée Esposito, Thaïs, Soprano Andrée Gabriel, Myrtale, Mezzo soprano Antál Dorati, Conductor Christiane Harbell, Crobyle, Soprano Claes-Håkan Ahnsjö, Tenor Gretje Anthoni, Auretta Jean Mollien, Nicias, Tenor Joseph Haydn, Composer Lausanne Chamber Orchestra Leonie Schoon, Lavina, Mezzo soprano Leonie Schoon, Lavina, Mezzo soprano Leonie Schoon, Lavina, Mezzo soprano Michael Devlin, Bass-baritone Robert Massard, Athanaël, Baritone Romain Bischoff, Chicchibio, Baritone Solange Michel, Albine, Mezzo soprano |
Composer or Director: Joseph Haydn
Genre:
Opera
Label: Philips
Magazine Review Date: 6/1993
Media Format: CD or Download
Media Runtime: 167
Mastering:
ADD
Catalogue Number: 432 434-2PH3
Tracks:
Composition | Artist Credit |
---|---|
Orlando Paladino |
Joseph Haydn, Composer
Antál Dorati, Conductor Arleen Augér, Angelica, Soprano Benjamin Luxon, Rodomonte, Tenor Claes-Håkan Ahnsjö, Medoro, Tenor Domenico Trimarchi, Pasquale, Baritone Elly Ameling, Eurilla Gabor Carelli, Licone, Tenor George Shirley, Orlando, Tenor Gwendoline Killebrew, Alcina, Mezzo soprano Joseph Haydn, Composer Lausanne Chamber Orchestra Maurizio Mazzieri, Caronte, Baritone |
Composer or Director: Joseph Haydn
Genre:
Opera
Label: Philips
Magazine Review Date: 6/1993
Media Format: CD or Download
Media Runtime: 162
Mastering:
ADD
Catalogue Number: 432 430-2PH3
Tracks:
Composition | Artist Credit |
---|---|
(La) Fedeltà premiata |
Joseph Haydn, Composer
Alan Titus, Perrucchetto, Baritone Antál Dorati, Conductor Frederica von Stade, Amaranta, Mezzo soprano Ileana Cotrubas, Nerina, Soprano Joseph Haydn, Composer Kari Lövaas, Diana, Soprano Lausanne Chamber Orchestra Lucia Valentini-Terrani, Celia, Soprano Luigi Alva, Lindoro, Tenor Maurizio Mazzieri, Melibeo, Baritone Suisse Romande Radio Chorus Tonny Landy, Fileno |
Composer or Director: Joseph Haydn
Genre:
Opera
Label: Philips
Magazine Review Date: 6/1993
Media Format: CD or Download
Media Runtime: 212
Mastering:
ADD
Catalogue Number: 432 420-2PH3
Tracks:
Composition | Artist Credit |
---|---|
(Il) Mondo della luna |
Joseph Haydn, Composer
Antál Dorati, Conductor Anthony Rolfe Johnson, Cecco, Tenor Arleen Augér, Flaminia, Soprano Domenico Trimarchi, Buonafede, Baritone Edith Mathis, Clarice, Soprano Frederica von Stade, Lisetta, Mezzo soprano Joseph Haydn, Composer Lausanne Chamber Orchestra Lucia Valentini-Terrani, Ernesto, Soprano Luigi Alva, Ecclitico, Tenor Suisse Romande Radio Chorus |
Vada adagio, signorina |
Joseph Haydn, Composer
Alfredo Mariotti, Betto di Signa, Bass Alvaro Domingo, Gherardino, Contralto (Female alto) Ameral Gunson, Lay Sister II, Mezzo soprano Armin Jordan, Conductor Carlo del Bosco, Marco, Baritone Edith Mathis, Soprano Giancarlo Luccardi, Simone, Bass Joseph Haydn, Composer Lausanne Chamber Orchestra Scilly Fortunato, Nella, Soprano Ursula Connors, Lay Sister I, Soprano |
Infelice sventurata |
Joseph Haydn, Composer
Alexander Young, Luiz, Tenor Alexander Young, Luiz, Baritone Alexander Young, Luiz, Tenor Armin Jordan, Conductor Edith Mathis, Soprano Elsie Morison, Yum-Yum, Soprano Elsie Morison, Yum-Yum, Soprano Elsie Morison, Yum-Yum, Soprano Geraint Evans, Duke of Plaza-Toro, Baritone Geraint Evans, Duke of Plaza-Toro, Baritone Geraint Evans, Duke of Plaza-Toro, Baritone Jeannette Sinclair, Peep-Bo, Soprano Joseph Haydn, Composer Lausanne Chamber Orchestra Marjorie Thomas, Pitti-Sing, Mezzo soprano Marjorie Thomas, Pitti-Sing, Mezzo soprano Marjorie Thomas, Pitti-Sing, Mezzo soprano Monica Sinclair, Katisha, Soprano Monica Sinclair, Katisha, Soprano Monica Sinclair, Katisha, Soprano Robert Hale, Wotan, Baritone Robert Hale, Wotan, Baritone Robert Hale, Wotan, Baritone |
Miseri noi! misera patria! Funesto orror |
Joseph Haydn, Composer
Armin Jordan, Conductor Birgit Calm, Flosshilde, Mezzo soprano Birgit Calm, Flosshilde, Mezzo soprano Birgit Calm, Flosshilde, Mezzo soprano Edith Mathis, Soprano Florian Cerny, Donner, Baritone Hildegard Behrens, Brünnhilde, Soprano Hildegard Behrens, Brünnhilde, Soprano Hildegard Behrens, Brünnhilde, Soprano Josef Hopferwieser, Froh, Tenor Joseph Haydn, Composer Julia Varady, Sieglinde, Soprano Lausanne Chamber Orchestra Robert Hale, Wotan, Baritone Robert Hale, Wotan, Baritone Robert Hale, Wotan, Baritone Robert Schunk, Siegmund, Tenor |
Son pietosa, son bonina |
Joseph Haydn, Composer
Armin Jordan, Conductor Bernard Loonen, Biondello Bernard Loonen, Don Asdrubale Bernard Loonen, Biondello Bernard Loonen, Don Asdrubale Bernard Loonen, Don Asdrubale Bernard Loonen, Biondello Edith Mathis, Soprano Herman Bekaert, Pippo, Bass Herman Bekaert, Bocconio, Bass Herman Bekaert, Bocconio, Bass Herman Bekaert, Pippo, Bass Herman Bekaert, Pippo, Bass Herman Bekaert, Bocconio, Bass Ioan Micu, Calandrino, Tenor Ioan Micu, Calandrino, Tenor Ioan Micu, Pulcherio, Tenor Ioan Micu, Calandrino, Tenor Ioan Micu, Pulcherio, Tenor Ioan Micu, Pulcherio, Tenor Joseph Haydn, Composer Lausanne Chamber Orchestra Rolande Van der Paal, Celidora Rolande Van der Paal, Celidora Rolande Van der Paal, Celidora |
D'una sposa meschinella |
Joseph Haydn, Composer
Ann Murray, Cherubino, Mezzo soprano Armin Jordan, Conductor Edith Mathis, Soprano Joseph Haydn, Composer Kurt Rydl, Bartolo, Bass Lausanne Chamber Orchestra Margaret Price, Countess Almaviva, Soprano Mariana Nicolesco, Marcellina, Soprano Siegfried Jerusalem, Tamino, Tenor Thomas Allen, Figaro, Bass Wolfgang Brendel, Papageno, Baritone |
Sono Alcina e sono ancora |
Joseph Haydn, Composer
Armin Jordan, Conductor Edith Mathis, Soprano John Cheek, Tiresias, Baritone John Ostendorf, Creon; Messenger Jon Garrison, Shepherd, Tenor Joseph Haydn, Composer Lausanne Chamber Orchestra Mercedes Capsir, Rosina, Mezzo soprano Paul Newman, Narrator Riccardo Stracciari, Figaro, Baritone Wendy White, Jocasta, Soprano |
Che vive amnate |
Joseph Haydn, Composer
Armin Jordan, Conductor Edith Mathis, Soprano Helmut Wildhaber, Monostatos, Tenor Huub Claessens, Don Alfonso, Bass Huub Claessens, Don Alfonso, Baritone Huub Claessens, Don Alfonso, Baritone Jerry Hadley, Tamino, Tenor John Dickie, Oebalus, Tenor Joseph Haydn, Composer Lausanne Chamber Orchestra Nicola Wemyss, Annio Nicola Wemyss, Annio Nicola Wemyss, Annio Robert Lloyd, Sarastro, Baritone Robert Lloyd, Sarastro, Bass Robert Lloyd, Sarastro, Baritone Ulrike Steinsky, Papagena, Soprano |
Solo e pensoso |
Joseph Haydn, Composer
Armin Jordan, Conductor Edith Mathis, Soprano Frédéric Leprin, Lacouf, Tenor Georges Foix, Spalanzani, Tenor Gilbert Moryn, Crespel Jane Rolland, Antonia, Soprano Joseph Haydn, Composer Lausanne Chamber Orchestra Marcel Genio, Nathanaël, Tenor Serge Rallier, Journalist Yvonne Corcke, Voice of Antonia's Mother, Mezzo soprano |
Composer or Director: Joseph Haydn
Genre:
Opera
Label: Philips
Magazine Review Date: 6/1993
Media Format: CD or Download
Media Runtime: 88
Mastering:
ADD
Catalogue Number: 432 427-2PH2
Tracks:
Composition | Artist Credit |
---|---|
(L') isola disabitata |
Joseph Haydn, Composer
Antál Dorati, Conductor Joseph Haydn, Composer Lausanne Chamber Orchestra Linda Zoghby, Silvia Luigi Alva, Gernando, Tenor Norma Lerer, Costanza, Soprano Renato Bruson, Enrico, Baritone |
Composer or Director: Joseph Haydn
Genre:
Opera
Label: Philips
Magazine Review Date: 6/1993
Media Format: CD or Download
Media Runtime: 140
Mastering:
ADD
Catalogue Number: 432 438-2PH2
Tracks:
Composition | Artist Credit |
---|---|
Armida |
Joseph Haydn, Composer
Antál Dorati, Conductor Anthony Rolfe Johnson, Clotarco, Tenor Claes-Håkan Ahnsjö, Rinaldo, Tenor Jessye Norman, Armida, Soprano Joseph Haydn, Composer Lausanne Chamber Orchestra Norma Burrowes, Zelmira, Soprano Robin Leggate, Ubaldo, Tenor Samuel Ramey, Idreno, Baritone |
Composer or Director: Joseph Haydn
Genre:
Opera
Label: Philips
Magazine Review Date: 6/1993
Media Format: CD or Download
Media Runtime: 123
Mastering:
ADD
Catalogue Number: 432 424-2PH2
Tracks:
Composition | Artist Credit |
---|---|
(La) Vera costanza |
Joseph Haydn, Composer
Antál Dorati, Conductor Anthony Rolfe Johnson, Marquis Ernesto, Tenor Claes-Håkan Ahnsjö, Count Errico, Tenor Domenico Trimarchi, Masino, Baritone Helen Donath, Lisetta, Soprano Jessye Norman, Rosina, Soprano Joseph Haydn, Composer Kari Lövaas, Baroness Irene, Soprano Lausanne Chamber Orchestra Wladimiro Ganzarolli, Villotto, Baritone |
Composer or Director: Joseph Haydn
Genre:
Opera
Label: Philips
Magazine Review Date: 6/1993
Media Format: CD or Download
Media Runtime: 111
Mastering:
ADD
Catalogue Number: 432 413-2PH2
Tracks:
Composition | Artist Credit |
---|---|
(L') Infedeltà delusa |
Joseph Haydn, Composer
Aldo Baldin, Filippo, Tenor Antál Dorati, Conductor Barbara Hendricks, Sandrina, Soprano Claes-Håkan Ahnsjö, Nencio, Tenor Edith Mathis, Vespina, Soprano Joseph Haydn, Composer Lausanne Chamber Orchestra Michael Devlin, Nanni, Baritone |
Author: Lionel Salter
That work deals with peasant folk;
Several composers had set Goldoni's Il mondo della luna before Haydn, whose perfunctory Third Act, however, departs from the original. There had been problems with the casting, for the ranges of three roles had been changed more than once, but he obviously thought well of the music, since no fewer than eight numbers were re-used (as the first movement of Symphony No. 63, as the Benedictus of the Mariazell Mass, and in the flute trios). It is the ladies who are given most of the best music here: Auger in particular shines in her tremendous coloratura ''Ragion nell'alma'', but Mathis and von Stade also contribute valuably. Terrani in almost the last of Haydn's castrato roles, however, is less than ideally steady. A special feature of the score is its delicate and unusual instrumentation. This disc comes with an addition which Philips have so far been keeping from us: eight Haydn arias beautifully sung by Mathis with the orchestra under Armin Jordan. In some, the singer is indignant or cynical about the deception of men, and of these the lovely
For La vera costanza, a remarkably fine dramma giocosa (an appellation shared with Don Giovanni), Jessye Norman was enlisted as the much-tried fisher girl Rosina. Too grand a voice? Not really: she brings out the character's essential nobility, is especially fine in her despairing Act 2 accompanied recitative and aria, and holds the too involved story together. As to other parts, Donath is captivatingly pert, Rolfe Johnson stylishly elegant, Lovaas suitably imperious as the scheming baroness, and Ahnsjo assured in an exceptionally varied and demanding scene in Act 1. But the opera is notable for its ensembles: it indeed begins with a sextet as a small boat battered by a tempest limps in to shore; and the finales to the first two acts are the most developed and complex Haydn had yet written. The one real weakness in the performance lies in the recitatives: as in the other operas too, they have been somewhat cut down (which is no great loss) but are taken too deliberately, and unfortunately Dorati, who insisted on playing the harpsichord continuo himself, is impossibly ponderous and heavy-handed.
That particular problem is avoided in the briefest of these works, with just four characters and a single set, Haydn's only Metastasian opera
Haydn's last and most successful comic opera—again with a sizeable serious element—was La fedelta premiata, written for the magnificent new opera house in Esterhaza (the earlier one having been burnt down, with the loss of valuable instruments, scenery and music just before
Orlando paladino enjoyed an immense success during the composer's lifetime, and after a longish run in Esterhaza was taken up in some 20 other Central European centres. It is a 'heroic-comic' opera with a score of exceptional brilliance written for an aborted gala occasion, and centres not on the eponymous Orlando—who in fact doesn't appear until 45 minutes in to the opera—but on a queen of Cathay in love with a faint-hearted Saracen who is being furiously pursued by Orlando, himself literally out of his mind for love of her: he is finally deterred not by a blustering king of Barbary but by the intervention of the sorceress Alcina. There are some parallels with Don Giovanni five years later (da Ponte certainly saw Orlando in Vienna)—an ineffectual lover, and particularly a comic squire not only always hungry and terrified in the presence of the supernatural but given a patter catalogue-song (of places that have witnessed his pretended valour). In this latter role Trimarchi is in his element, not only richly comic, savouring every syllable, but also displaying a ringing high G; Shirley effectively conveys Orlando's dazed infatuation and madness; there is a splendidly powerful sorceress from Killebrew, who is stunning in what must be one of the most sensational entry arias (with braying horns) any character ever had; but it is the heroine who dominates the action, and the melting beauty (and technical virtuosity) of Auger's singing in a whole range of expressive solos is memorable.
What is widely considered Haydn's finest opera is Armida, his last for Esterhaza, where it received over 50 performances. Like Orlando, it was based on a familiar literary classic adopted for opera by numerous other composers: what is surprising is that in his setting Haydn reverted to opera seria style, with no buffo characters, very few ensembles and extensive secco recitatives. Dramatic action is minimal: for three acts Rinaldo lingers under the spell of the enchantress Armida despite all the efforts of fellow-Crusaders to recall him to his mission. The work's static nature, however, casts the emphasis on its musical qualities, and in this regard Armida is of the highest standard. The enchantress herself, personified by the redoubtable Jessye Norman, has the widest range of emotions to portray, from tenderness to rage; Ahnsjo as Rinaldo produces a fine legato and very accurate florid passagework (as he does elsewhere in this Haydn series too), but his low register rather lets him down; Ramey shows laudable firmness and flexibility; and Burrowes's fresh youthful charm is very appealing. The most notable features of the opera are three long through-composed sequences and imaginative scoring: the scene in the magic forest, where Rinaldo at last, to Armida's fury, breaks free from her spell, is masterly, and in itself is sufficient to compel a revision of the too common neglect of Haydn as an operatic composer.'
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