Handel: Flavio, Re de' Longobardi

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Editorial Reviews

All Music Guide - Stephen Eddins
Early music specialists are still working through the wealth of Handel operas that began coming more to light in the late 20th century. "Flavio, Rè di Longobardi" remains one of his more obscure works. Its musical variety and richness make it a piece that deserves more attention and this excellent recording in Chandos' series of Baroque operas featuring Christian Curnyn and Early Opera Company makes a strong case for it. The plot, like that of many of Handel's operas, is convoluted to the point of being indecipherable, but each of the characters is carefully drawn. These singers invest each one with an incisive dramatic distinctiveness, and their voices are different ...
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Editorial Reviews

All Music Guide - Stephen Eddins
Early music specialists are still working through the wealth of Handel operas that began coming more to light in the late 20th century. "Flavio, Rè di Longobardi" remains one of his more obscure works. Its musical variety and richness make it a piece that deserves more attention and this excellent recording in Chandos' series of Baroque operas featuring Christian Curnyn and Early Opera Company makes a strong case for it. The plot, like that of many of Handel's operas, is convoluted to the point of being indecipherable, but each of the characters is carefully drawn. These singers invest each one with an incisive dramatic distinctiveness, and their voices are different enough that here is never in doubt as to which characters are singing. Curnyn leads a superb cast in an elegant performance. Countertenors Tim Mead and Iestyn Davies have voices that aren't particularly large, but they sing with effortless-sounding agility and lyrical attention to long lines, and because Mead is an alto and Davies a mezzo their voices are always easy to distinguish. The women, soprano Rosemary Joshua, Renata Pokupic, and contralto Hilary Summers, are all stellar, with warm, large, sensuous voices that they deploy with shapely musicality and dramatic insight. (In a disorienting voicing decision, for one pair of lovers Handel writes the women's part for a contralto and the trousers male role for mezzo-soprano.) Tenor Thomas Walker and bass-baritone Andrew Foster-Williams are also compelling, almost but not quite in the same league. The Early Opera Company delivers a polished performance that conveys both the score's drama and its sometimes less than serious commentary on the characters' plights. Chandos' sound is clean and immediate.
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Product Details

  • Release Date: 10/26/2010
  • Label: Chandos
  • UPC: 095115077320
  • Catalog Number: 773
  • Sales rank: 116,256

Tracks

Disc 1
  1. 1–51 Flavio, Rè di Longobardi, opera, HWV 16 - George Frideric Handel & George Frideric Handel (145:57)
    Composed byGeorge Frideric Handel, George Frideric Handel
    Conducted byChristian Curnyn
    Performed byRosemary Joshua, Hilary Summers, Thomas Walker, Iestyn Davies, Christian Curnyn, Early Opera Company, Renata Pokupic, Tim Mead
    1. 1No. 1. Overture
    2. 2Act 1. Scene 1. No. 2. Recitativo. Fra i ciechi orror' notturni
    3. 3Act 1. Scene 1. No. 3. Duetto. Ricordati, mio ben
    4. 4Act 1. Scene 2. No. 4. Sinfonia
    5. 5Act 1. Scene 2. No. 5. Recitativo. Lotario, al sacro nodo - / Scene 3. Recitativo. Con l'alma rever
    6. 6Act 1. Scene 3. No. 6. Aria. Quanto dolci, quanto care
    7. 7Act 1. Scene 4. No. 7. Recitativo. Son pur felice al fine
    8. 8Act 1. Scene 4. No. 8. Aria. Bel contento già gode quest'alma
    9. 9Act 1. Scene 5. No. 9. Recitativo. O dell'Italo soglio, eccelso nume
    10. 10Act 1. Scene 5. No. 10. Aria. Benché povera donzella
    11. 11Act 1. Scene 6. No. 11. Recitativo. Della mia prole Emilia - / Scene 7. Recitativo. Di qual sovrano
    12. 12Act 1. Scene 7. No. 12. Aria. Se a te vissi fedele
    13. 13Act 1. Scene 8. No. 13. Recitativo. Vitige!
    14. 14Act 1. Scene 8. No. 14. Aria. Di quel bel che m'innamora
    15. 15Act 1. Scene 9. No. 15. Recitativo. Io vo temendo, O Dio
    16. 16Act 1. Scene 9. No. 16. Aria. Che bel contento
    17. 17Act 1. Scene 10. No. 17. Recitativo. Ah! Quido, Guido! - / Scene 11. Recitativo. Amor, Emilia vita
    18. 18Act 1. Scene 11. No. 18. Aria. L'armellin vita non cura
    19. 19Act 1. Scene 12. No. 19. Recitativo. Guido? Consorte? - / Scene 13. Recitativo. Chi mai l'intende,
    20. 20Act 1. Scene 13. No. 20. Aria. Amante stravagante
    21. 21Act 2. Scene 1. No. 21. Recitativo. Al tuo cenno reale ubbidiente - / Scene 2. Recitativo. Dove, do
    22. 22Act 2. Scene 3. No. 22. Aria. Fato tiranno e crudo
    23. 23Act 2. Scene 4. No. 23. Recitativo. Dunque per le mie nozze
    24. 24Act 2. Scene 4. No. 24. Aria. S'egli ti chiede affetto
    25. 25Act 2. Scene 5. No. 25. Recitativo. Che mai chiedete, o stelle
    26. 26Act 2. Scene 5. No. 26. Aria. Parto, sì; ma non so poi
    27. 27Act 2. Scene 6. No. 27. Recitativo. Privarmi ancora
    28. 28Act 2. Scene 6. No. 28. Aria. Rompo i lacci, e frango i dardi
    29. 29Act 2. Scene 7. No. 29. Recitativo. Di Teodata assai men vago splende
    30. 30Act 2. Scene 7. No. 30. Aria. Chi può mirare
    31. 31Act 2. Scene 8. No. 31. Recitativo. Teodata!
    32. 32Act 2. Scene 8. No. 32. Aria. Con un vezzo, con un riso
    33. 33Act 2. Scene 9. No. 33. Recitativo. Amo, e quel ben ch'adoro
    34. 34Act 2. Scene 9. No. 34. Aria. Non credo instabile
    35. 35Act 2. Scene 10. No. 35. Recitativo. Io deluso? Lotario? ed altri miete - / Scene 11. Recitativo. A
    36. 36Act 2. Scene 11. No. 36. Aria. Ma chi punir desio?
    37. 37Act 3. Scene 1. No. 37. Recitativo. Alma, tu non m'intendi
    38. 38Act 3. Scene 1. No. 38. Aria. Da te parto; ma concedi
    39. 39Act 3. Scene 2. No. 39. Recitativo. Guido, Lotario uccise?
    40. 40Act 3. Scene 2. No. 40. Arioso e recitativo. Corrispondi a chi ti adora
    41. 41Act 3. Scene 2. No. 41. Aria. Starvi accanto e non languire
    42. 42Act 3. Scene 2. No. 42. Recitativo. Barbara Teodata
    43. 43Act 3. Scene 2. No. 43. Aria. Che colpa è la mia
    44. 44Act 3. Scene 3. No. 44. Recitativo. Del nuovo amante, dell'impero accesa
    45. 45Act 3. Scene 3. No. 45. Aria. Sirti, scogli, tempeste, procelle
    46. 46Act 3. Scene 4. No. 46. Accompagnato. O Guido, o mio tiranno! - / Recitativo. Emilia, eccoti al pie
    47. 47Act 3. Scene 4. No. 47. Aria. Amor, nel mio penar
    48. 48Act 3. Scene 5. No. 48. Recitativo. Vitige! - / Scene 6. Recitativo. Signor, se il mio delitto - /
    49. 49Act 3. Scene 7. No. 49. Duetto. Deh, perdona, o dolce bene
    50. 50Act 3. Scene 7. No. 50. Recitativo. E tu, Vitige, in pena
    51. 51Act 3. Scene 7. No. 51. Coro. Doni pace ad ogni core
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Album Credits

Performance Credits
Early Opera Company Primary Artist
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