Cover Handel: Almira, HWV 1

Album info

Album-Release:
2020

HRA-Release:
03.01.2020

Label: CPO

Genre: Classical

Subgenre: Vocal

Artist: Boston Early Music Festival Orchestra, Paul O'Dette & Stephen Stubbs

Composer: George Frideric Handel (1685-1759)

Album including Album cover Booklet (PDF)

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  • George Frideric Handel (1685 - 1759): Almira, HWV 1:
  • 1Almira, HWV 1: Ouverture02:47
  • Almira, HWV 1, Act I:
  • 2Almira, HWV 1, Act I Scene 1: Durchlauchtigste01:11
  • 3Almira, HWV 1, Act I Scene 1: Almire regiere02:31
  • 4Almira, HWV 1, Act I Scene 1: Viva, viva, viva, Almira00:26
  • 5Almira, HWV 1, Act I Scene 1: Chaconne01:27
  • 6Almira, HWV 1, Act I Scene 1: Sarabande02:01
  • 7Almira, HWV 1, Act I Scene 2: Die Nachwelt01:50
  • 8Almira, HWV 1, Act I Scene 2: Ach wiltu die Herzen01:37
  • 9Almira, HWV 1, Act I Scene 2: Du hebst mich, grosse Königin00:39
  • 10Almira, HWV 1, Act I Scene 2: So ben che regnante02:34
  • 11Almira, HWV 1, Act I Scene 3: Durchlauchigste, des Vaters letzten Willen00:37
  • 12Almira, HWV 1, Act I Scene 3: Leset, ihr funkelenden Augen01:17
  • 13Almira, HWV 1, Act I Scene 3: Ach, Schmerz!00:48
  • 14Almira, HWV 1, Act I Scene 3: Chi più mi piace04:10
  • 15Almira, HWV 1, Act I Scene 4: Schönste Rosen04:37
  • 16Almira, HWV 1, Act I Scene 4: Ist hier Edilia?00:42
  • 17Almira, HWV 1, Act I Scene 4: Du irrst dich, mein Licht02:56
  • 18Almira, HWV 1, Act I Scene 4: Ich bin versöhnt00:47
  • 19Almira, HWV 1, Act I Scene 4: Proverai04:05
  • 20Almira, HWV 1, Act I Scene 4: Schäum' immer Gift und Gallen!00:17
  • 21Almira, HWV 1, Act I Scene 4: Zürne was hin01:03
  • 22Almira, HWV 1, Act I Scene 5: Liebliche Wälder04:36
  • 23Almira, HWV 1, Act I Scene 5: Die Königin ist meiner Liebe Ziel01:38
  • 24Almira, HWV 1, Act I Scene 6: Vollkommene Hände01:37
  • 25Almira, HWV 1, Act I Scene 6: Ich liebe Di- wie, seh ich nicht01:48
  • 26Almira, HWV 1, Act I Scene 6: Geloso tormento06:43
  • 27Almira, HWV 1, Act I Scene 7: Auf diesen angenehmen Wegen02:04
  • 28Almira, HWV 1, Act I Scene 7: Wer um Geld und Hoheit willen00:57
  • 29Almira, HWV 1, Act I Scene 7: Ich stimme solchen Worten bei00:17
  • 30Almira, HWV 1, Act I Scene 7: Più non vuo02:22
  • 31Almira, HWV 1, Act I Scene 7: Ritornello00:33
  • 32Almira, HWV 1, Act I Scene 8: Weil es die Königin befohlen00:29
  • 33Almira, HWV 1, Act I Scene 8: Am Hofe zu heissen galant01:24
  • 34Almira, HWV 1, Act I Scene 9: Auf, auf, mein Herz!00:26
  • 35Almira, HWV 1, Act I Scene 9: Lass das Schicksal blitzen03:37
  • 36Almira, HWV 1, Act I Scene 9: Dort wird sich Osman finden ein00:17
  • 37Almira, HWV 1, Act I Scene 9: Ich will euch verdammen02:35
  • 38Almira, HWV 1, Act I Scene 10: Nein, Amor, nein00:43
  • 39Almira, HWV 1, Act I Scene 10: Ich will gar von nichtes wissen02:11
  • 40Almira, HWV 1, Act I Scene 11: Die Königin Almira01:26
  • 41Almira, HWV 1, Act I Scene 11: Der Mund spricht zwar02:38
  • 42Almira, HWV 1, Act I Scene 11: Sie wird mich in Verzweiflung stürzen00:30
  • 43Almira, HWV 1, Act I Scene 11: Courante01:14
  • 44Almira, HWV 1, Act I Scene 11: Bourree00:34
  • 45Almira, HWV 1, Act I Scene 11: Menuet01:03
  • 46Almira, HWV 1, Act I Scene 11: Rigaudon00:50
  • 47Almira, HWV 1, Act I Scene 12: Wie, träum' ich01:21
  • 48Almira, HWV 1, Act I Scene 12: Ingrato, Spietato04:46
  • Almira, HWV 1, Act II
  • 49Almira, HWV 1, Act II Scene 1: Durchlauchtigste, aus Mauritanien00:42
  • 50Almira, HWV 1, Act II Scene 2: Raymondo, der das Reich02:23
  • 51Almira, HWV 1, Act II Scene 3: Chi sà, mia spema02:46
  • 52Almira, HWV 1, Act II Scene 3: Doch leerer Trost01:51
  • 53Almira, HWV 1, Act II Scene 3: Lass ein sanftes Händedrücken02:08
  • 54Almira, HWV 1, Act II Scene 3: Verdruss und Unmuth00:27
  • 55Almira, HWV 1, Act II Scene 3: Alter schadt der Thorheit nicht01:21
  • 56Almira, HWV 1, Act II Scene 4: Ich muss allein in diesem Zimmer bleiben01:18
  • 57Almira, HWV 1, Act II Scene 4: Habbiate pazienza00:55
  • 58Almira, HWV 1, Act II Scene 4: Tabarco, lass ihn nur herein01:33
  • 59Almira, HWV 1, Act II Scene 5: Sprich vor mir ein süsses Wort01:49
  • 60Almira, HWV 1, Act II Scene 5: Wie werd ich mich doch seiner Bitt' entbrechen?00:39
  • 61Almira, HWV 1, Act II Scene 6: Entzeuch das Blatt nur meinen Augen nicht01:10
  • 62Almira, HWV 1, Act II Scene 6: Schöne Flammen02:57
  • 63Almira, HWV 1, Act II Scene 6: Nein, nein, Fernando, nein!02:26
  • 64Almira, HWV 1, Act II Scene 7: Durchlauchtigste, darf ich die Gnad' erbitten02:09
  • 65Almira, HWV 1, Act II Scene 7: Nein, Osman muss, was er versprochen00:21
  • 66Almira, HWV 1, Act II Scene 7: Scepter und Kron01:07
  • 67Almira, HWV 1, Act II Scene 7: Mein Vater wird zu den zerrissnen Banden01:18
  • 68Almira, HWV 1, Act II Scene 8: Mi da speranza al core03:51
  • 69Almira, HWV 1, Act II Scene 8: Almira kommt00:41
  • 70Almira, HWV 1, Act II Scene 8: Zweier Augen Majestät03:47
  • 71Almira, HWV 1, Act II Scene 8: Und wo wird sich hie00:16
  • 72Almira, HWV 1, Act II Scene 9: Ich kann nicht mehr01:35
  • 73Almira, HWV 1, Act II Scene 9: Move i passi03:52
  • 74Almira, HWV 1, Act II Scene 9: Hilf, Himmel! Osman kommt00:19
  • 75Almira, HWV 1, Act II Scene 10: Svenerò01:01
  • 76Almira, HWV 1, Act II Scene 10: Dort eben kommt02:26
  • 77Almira, HWV 1, Act II Scene 10: Ob dein Mund03:07
  • 78Almira, HWV 1, Act II Scene 11: Beglückter Tag00:44
  • 79Almira, HWV 1, Act II Scene 11: Sanerà la piaga un dì03:55
  • 80Almira, HWV 1, Act II Scene 11: Raymondo hat mir seinen Fürstenstand entdeckt00:28
  • 81Almira, HWV 1, Act II Scene 12: Ich komme von Almirens Zimmer her02:11
  • 82Almira, HWV 1, Act II Scene 12: Der Himmel wird strafen05:22
  • 83Almira, HWV 1, Act II Scene 13: Wie muss sich doch Tabarco02:55
  • 84Almira, HWV 1, Act II Scene 13: Schürzchen mit dem Falbala03:49
  • Almira, HWV 1, Act III:
  • 85Almira, HWV 1, Act III Scene 1: Entrée01:09
  • 86Almira, HWV 1, Act III Scene 1: Bücke dich02:44
  • 87Almira, HWV 1, Act III Scene 1: Entrée dacapo01:38
  • 88Almira, HWV 1, Act III Scene 2: Meiner Pracht02:41
  • 89Almira, HWV 1, Act III Scene 2: Rigaudon00:51
  • 90Almira, HWV 1, Act III Scene 3: Du stolzer Erdenkreis!02:24
  • 91Almira, HWV 1, Act III Scene 3: Sarabande02:03
  • 92Almira, HWV 1, Act III Scene 3: Gefällt ihr nicht00:23
  • 93Almira, HWV 1, Act III Scene 4: Kommt, vermehrt der Thorheit Ruhm02:16
  • 94Almira, HWV 1, Act III Scene 5: Quillt, ihr überhäuften Zähren05:58
  • 95Almira, HWV 1, Act III Scene 5: Was ist das deinen Geist01:39
  • 96Almira, HWV 1, Act III Scene 5: Gönne nach den Thränengüssen03:40
  • 97Almira, HWV 1, Act III Scene 6: Ja, Amor, deine Grausamkeit01:02
  • 98Almira, HWV 1, Act III Scene 6: Blinder Schütz02:20
  • 99Almira, HWV 1, Act III Scene 6: Unartige Schöne01:16
  • 100Almira, HWV 1, Act III Scene 7: Edele Sinnen02:30
  • 101Almira, HWV 1, Act III Scene 7: Fernando, gib mir deinen Degen00:35
  • 102Almira, HWV 1, Act III Scene 7: Was ist des Hofes Gunst?01:56
  • 103Almira, HWV 1, Act III Scene 7: Geh, Unvorsichtiger02:01
  • 104Almira, HWV 1, Act III Scene 8: Vedrai, s’à tuo dispetto05:27
  • 105Almira, HWV 1, Act III Scene 9: Edilia!03:20
  • 106Almira, HWV 1, Act III Scene 10: Treuloser Mensch01:10
  • 107Almira, HWV 1, Act III Scene 10: Kochet, ihr Adern03:45
  • 108Almira, HWV 1, Act III Scene 11: Durchlauchtigste, der Himmel muss verehren02:57
  • 109Almira, HWV 1, Act III Scene 11: Werthe Schrift01:31
  • 110Almira, HWV 1, Act III Scene 12: Entweich, verlasse mich01:23
  • 111Almira, HWV 1, Act III Scene 13: Quel labbro di Coral02:31
  • 112Almira, HWV 1, Act III Scene 14: Der kann in Blitz01:38
  • 113Almira, HWV 1, Act III Scene 14: Was bringt Tabarco mir vor Trost?00:31
  • 114Almira, HWV 1, Act III Scene 15: Verhängniss06:50
  • 115Almira, HWV 1, Act III Scene 15: Spielet, ihr blitzenden Augen02:11
  • 116Almira, HWV 1, Act III Scene 16: Ich brenne zwar01:38
  • 117Almira, HWV 1, Act III Scene 16: Glaub, Schöne00:34
  • 118Almira, HWV 1, Act III Scene 16: Mein Betrüben muss verschwinden01:45
  • 119Almira, HWV 1, Act III Scene 17: Fernando hat sich zwar erklärt03:01
  • 120Almira, HWV 1, Act III Scene 17: Hoffe, hoffe01:57
  • 121Almira, HWV 1, Act III Scene 18: Durchlauchtigste, des Himmels hohe Gunst02:03
  • 122Almira, HWV 1, Act III Scene 18: Wir hoffen00:52
  • Total Runtime04:00:50

Info for Handel: Almira, HWV 1



The Boston Early Music Festival has recorded George Frideric Handel’s very first opera, Almira, Queen of Castile, with a superlatively sumptuous ensemble. For its previous recordings of Baroque operas this successful ensemble has won prizes such as the Grammy, the German Record Critics Annual Prize, and the Echo Klassik. The Hungarian soprano Emőke Baráth sings the role of Almira with a choice ensemble of singers, all of whom have performed in the world’s most renowned concert halls and opera houses. Handel’s Almira is based on a freely invented plot featuring fine entertainment in the form of love and marriage schemes among the nobility, infidelity and mistaken identities, and a happy ending brought about by a court servant’s negotiations. This work was presented at the Hamburg Opera House in 1705 about twenty times and with great success. At the time Reinhard Keiser was the director of the Hamburg Opera, and he merits great praise for giving the young Handel, who then was earning his livelihood as a second tutti violinist in the orchestra pit, to compose and present an opera under his supervision. Handel’s Almira would as a work not be imaginable apart from the special circumstances prevailing at the Hamburg Opera: various styles and various languages are mixed, and it includes German and Italian arias, vocal dance numbers and da capo pieces, as well as instrumental ballet inserts of larger format. The result is indeed a colorful mixture, and the melodic signature so typical of Handel is already omnipresent and creates a fascinating unity – now heard with a top-quality ensemble!

Emöke Barath, soprano
Amanda Forsythe, soprano
Colin Balzer, tenor
Christian Immler, baritone
Jan Kobow, tenor
Robert Mealy, Countertenor
Boston Early Music Festival Orchestra
Paul O'Dette, direction
Stephen Stubbs, direction



Paul O’Dette
has been described as “the clearest case of genius ever to touch his instrument” (Toronto Globe and Mail). He appears regularly at major festivals throughout the world performing lute recitals and in chamber music programs with leading early music colleagues. Mr. O’Dette has made more than 140 recordings, winning two Grammy Awards and receiving seven Grammy nominations and numerous international record awards. The Complete Lute Music of John Dowland (a 5-CD set for harmonia mundi usa) was awarded the prestigious Diapason d’Or de l’Année, and was named “Best Solo Lute Recording of Dowland” by BBC Radio 3. The Bachelar’s Delight: Lute Music of Daniel Bacheler was nominated for a Grammy as Best Solo Instrumental Recording in 2006.

While best known for his recitals and recordings of virtuoso solo lute music, Paul O’Dette is also active as a conductor of Baroque opera. Together with Stephen Stubbs he won a Grammy as conductor in 2015 for Best Opera Recording, as well as an Echo Klassik Award, for their recording of Charpentier’s La Descente d’Orphée aux Enfers with the Boston Early Music Festival Chamber Ensemble. Their CDs of Conradi’s Ariadne, Lully’s Thésée, Lully’s Psyché, with the Boston Early Music Festival Orchestra on the CPO label, were nominated for Grammys in 2005, 2007, and 2008; their 2015 BEMF CD of Steffani’s Niobe, Regina di Tebe on the Erato/Warner Classics label was also nominated for a Grammy, and received the coveted Jahrespreis der Deutschen Schallplattenkritik. In addition to his activities as a performer, Paul O’Dette is an avid researcher, having worked extensively on the performance of seventeenth-century Italian and English solo song, continuo practices, and lute repertoire. He has published numerous articles on issues of historical performance practice, and co-authored the John Dowland entry in the New Grove Dictionary of Music and Musicians. Paul O’Dette is Professor of Lute and Director of Early Music at the Eastman School of Music and Artistic Co-Director of the Boston Early Music Festival.

Stephen Stubbs
who won the Grammy Award as conductor for Best Opera Recording in 2015, spent a thirty-year career in Europe. He returned to his native Seattle in 2006 as one of the world’s most respected lutenists, conductors, and Baroque opera specialists. In 2007 Stephen established his new production company, Pacific MusicWorks (PMW), based in Seattle, reflecting his lifelong interest in both early music and contemporary performance. The company’s inaugural presentation was a production of South African artist William Kentridge’s acclaimed multimedia staging of Claudio Monteverdi’s opera The Return of Ulysses in a co-production with the San Francisco Museum of Modern Art. PMW’s performances of the Monteverdi Vespers were described in the press as “utterly thrilling” and “of a quality you are unlikely to encounter anywhere else in the world.”

Stephen Stubbs is also the Boston Early Music Festival’s Artistic Co-Director along with his long-time colleague Paul O’Dette. Stephen and Paul are also the musical directors of all BEMF operas, recordings of which were nominated for five Grammy awards, including one Grammy win in 2015. Also in 2015, BEMF recordings won two Echo Klassik awards and the Diapason d’Or de l’Année. In addition to his ongoing commitments to PMW and BEMF, other recent appearances have included Handel’s Amadigi for Opera UCLA, Mozart’s Magic Flute and Così fan tutte in Hawaii, Handel’s Agrippina and Semele for Opera Omaha, Cavalli’s Calisto and Rameau’s Hippolyte et Aricie for Juilliard, and Mozart’s Il re pastore for the Merola program in San Francisco. He has conducted Handel’s Messiah with the Seattle, Edmonton, Birmingham, and Houston Symphony orchestras. His extensive discography as conductor and solo lutenist includes well over 100 CDs, many of which have received international acclaim and awards. From 2013 to 2018, Stephen Stubbs held the position of Senior Artist in Residence at the University of Washington School of Music.

Robert Mealy
is one of America’s most prominent Baroque violinists. He is concertmaster and Orchestra Director for the Boston Early Music Festival, where he has led this distinguished ensemble in festival productions, international tours, and recordings of a wide variety of repertoire for over a decade. While still an undergraduate at Harvard College, he was asked to join Tafelmusik. Since then, he has recorded over 80 CDs of early music on most major labels. He has appeared at international festivals from Berkeley to Bergen, and from Melbourne to Moscow. A devoted chamber musician, he co-directs Quicksilver, whose recordings and festival appearances across America have received much critical acclaim. He has led Baroque ensembles for the Mark Morris Dance Company, and accompanied Renée Fleming on the David Letterman Show.

As principal concertmaster for the Grammy-nominated orchestra of Trinity Wall Street, he has performed all of Bach’s sacred works and is now embarked on a similar traversal of Handel’s oratorios. He recently completed a survey of Bach’s sonatas for violin and harpsichord at the Smithsonian, and is recording the entire cycle on the museum’s Stainer violin. In January 2018 he made his Carnegie recital début as a soloist. A keen scholar as well as a performer, Mr. Mealy is Director of the distinguished Historical Performance Program at The Juilliard School. He has led his Juilliard students in frequent performances at Alice Tully Hall as well as on international tours, including performances as conservatory-in-residence at the Utrecht Festival, regular appearances at Les Jardins de William Christie in Thiré, and on an extended tour to India. From 2009 to 2015, he was a professor at Yale, holding a joint appointment at both the graduate School of Music and Yale College. Prior to that, he taught at Harvard for over a decade, where he founded the Harvard Baroque Chamber Orchestra. In 2004, he received Early Music America’s Binkley Award for outstanding teaching and scholarship. He still likes to practice.

Booklet for Handel: Almira, HWV 1

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