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By George Frideric Handel (Georg Friedrich Händel)
Lotario. (HWV 26, London 1729). dhm 82876587972 (2 CDs
2004). Alan Curtis, Il Complesso Barocco. Lotario: Hilary
Summers, mezzo-soprano; Adelaide: Simone Kermes, soprano;
Matilde: Sara Mingardo, contralto; Idelberto: Sonia Prina,
contralto; Berengario: Steve Davislim, tenor; Clodomiro: Vito
Priante, bass. Two incomplete recordings of Lotario have
appeared simultaneously. This one not only deletes much
recitative but the B sections and repeats in 6 of the 25 arias,
which is simply unacceptable. The included libretto is similarly
corrupt. BMG stiffed their best customers again, saving about 15
cents per set on the missing third CD. This is an outstanding
performance and recording, and the music is some of Handel's
finest. Hopefully a competent and ethical record company
eventually will release a complete recording.
Reissued August 2011.
|Also reissued in the Handel Opera Collection. Sony dhm
CDs, April 2009).
Details. This reissue includes the S. Kuijken recording of
Alessandro, which has been out of print for many years.
The best of the remaining opera recordings are Lotario
(Curtis), Partenope (Kuijken) &
Of these, only Schneider's Rodelinda has been superseded
by a clearly superior recording. The others are of little or no interest: Malgoire's lackluster
Rinaldo, Serse & Tamerlano and the comically
incompetent old Rudel recording of Giulio Cesare. No
librettos are included, nor are they available online.
Lotario (excerpts). (HWV 26, London 1729). Oehms Classics
OC 902 (1 CD 2004). Paul Goodwin, Kammerorchester Basel Barock.
Lotario: Lawrence Zazzo, countertenor; Adelaide: Nuria Rial,
soprano; Matilde: Annette Markert, contralto; Idelberto: Robert
Cornelius, countertenor; Berengario: Andreas Karasiak, tenor;
Clodomiro: Huub Claessens, bass. Merging this with the Curtis
set does not produce a complete recording.
Pietro Torri. Adelaide (Munich 1722). Libretto by Antonio Salvi.
Orlandini. Adelaide (Venice 1729). Rossi adapted Salvi's libretto for
Handel. Strohm points out (p.60) that Orlandini's score may also have been drawn
on as a text-source. Handel also used several of Orlandini's arias in 1730 in
his pasticcio Ormisda.
Winton Dean. Handel's Operas, 1726-1741 (Boydell Press 2006).
R. Strohm, "Handel and his Italian opera texts." Essays on Handel and the
Italian Opera. (Oxford University Press 1985).
Le magazine de l'opera-baroque page on Lotario