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Handel - Samson / The Sixteen, Christophers

Handel, G.F. (アーティスト) 形式: CD
4.6 5つ星のうち4.6 22個の評価
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CD, インポート, 2003/1/1 インポート
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曲目リスト

ディスク： 1

1 Samson, Oratorio, HWV 57: Act 1. Scene 1. No. 1. Overture. Andante - Adagio - Allegro - Menuetto
2 Samson, Oratorio, HWV 57: Act 1. Scene 1. No. 2. Recitative. This Day, a Solemn Feast to Dagon Held
3 Samson, Oratorio, HWV 57: Act 1. Scene 1. No. 3. Chorus. Awake the Trumpet's Lofty Sound!
4 Samson, Oratorio, HWV 57: Act 1. Scene 1. No. 4. Air. Ye Men of Gaza, Hither Bring
5 Samson, Oratorio, HWV 57: Act 1. Scene 1. No. 5. Chorus. Awake the Trumpet's Lofty Sound!
6 Samson, Oratorio, HWV 57: Act 1. Scene 1. No. 6. Air. Loud As the Thunder's Awful Voice
7 Samson, Oratorio, HWV 57: Act 1. Scene 1. No. 7. Air. Then Free from Sorrow, Free from Thrall
8 Samson, Oratorio, HWV 57: Act 1. Scene 1. No. 5. Chorus. Awak the Trumpet's Lofty Sound!
9 Samson, Oratorio, HWV 57: Act 1. Scene 1. No. 8. Recitative. Why By An Angel Was My Birth Foretold
10 Samson, Oratorio, HWV 57: Act 1. Scene 1. No. 9. Air. Torments Alas! Are Not Confin'd
11 Samson, Oratorio, HWV 57: Act 1. Scene 2. No. 10. Recitative. O Charge Beyond Report, Thought, or Belief!
12 Samson, Oratorio, HWV 57: Act 1. Scene 2. No. 11. Air. O Mirror of Our Fickle State!
13 Samson, Oratorio, HWV 57: Act 1. Scene 2. No. 12. Recitative. Whom Have I to Complain of But Myself
14 Samson, Oratorio, HWV 57: Act 1. Scene 2. No. 13A. Air. Total Eclipse! No Sun, No Moon
15 Samson, Oratorio, HWV 57: Act 1. Scene 2. No. 13B. Recitative. Since Light So Necessary Is to Life
16 Samson, Oratorio, HWV 57: Act 1. Scene 2. No. 14. Chorus. Oh First Created Beam! and Thou Great Word:
17 Samson, Oratorio, HWV 57: Act 1. Scene 2. No. 15. Recitative. Ye See, My Friends, How Woes Enclose Me Round:
18 Samson, Oratorio, HWV 57: Act 1. Scene 3. No. 16. Recitative. Brethren and Men of Dan, Say, Where Is My Son
19 Samson, Oratorio, HWV 57: Act 1. Scene 3. No. 17. Recitative. Oh Miserable Change! Is This the Man
20 Samson, Oratorio, HWV 57: Act 1. Scene 3. No. 18. Recitative. Oh Ever Failing Trust in Mortal Strength!
21 Samson, Oratorio, HWV 57: Act 1. Scene 3. No. 19. Air. God of Our Fathers, What Is Man?
22 Samson, Oratorio, HWV 57: Act 1. Scene 3. No. 20. Recitative. the Good We Wish for, Often Proves Our Bane
23 Samson, Oratorio, HWV 57: Act 1. Scene 3. No. 21. Air. Thy Glorious Deed Inspir'd My Tongue
24 Samson, Oratorio, HWV 57: Act 1. Scene 3. No. 22. Recitative. Justly These Evils Have Befall'n Thy Son;
25 Samson, Oratorio, HWV 57: Act 1. Scene 3. No. 23. Recitative. My Griefs for This
26 Samson, Oratorio, HWV 57: Act 1. Scene 3. No. 24. Air. Why Does the God of Israel Sleep?
27 Samson, Oratorio, HWV 57: Act 1. Scene 3. No. 25. Recitative. There Lies Our Hope! True Prophet May'st Thou Be
28 Samson, Oratorio, HWV 57: Act 1. Scene 3. No. 26. Chorus. Then Shall They Know, That He Whose Name
29 Samson, Oratorio, HWV 57: Act 1. Scene 3. No. 27. Recitative. for Thee, My Dearest Son, Must Thou Meanwhile / No. 28. Recitat
30 Samson, Oratorio, HWV 57: Act 1. Scene 3. No. 29. Air. Then Long Eternity Shall Greet Your Bliss
31 Samson, Oratorio, HWV 57: Act 1. Scene 3. No. 30. Chorus. Then Round About the Starry Throne

ディスク： 2

1 Samson, Oratorio, HWV 57: Act 2. Scene 1. No. 31. Recitative. Despair Not Thus! You Once Were God's Delight
2 Samson, Oratorio, HWV 57: Act 2. Scene 1. No. 32. Air. Just Are the Ways of God to Man
3 Samson, Oratorio, HWV 57: Act 2. Scene 1. No. 33. Recitative. My Evils Hopeless Are! One Pray'r Remains:
4 Samson, Oratorio, HWV 57: Act 2. Scene 1. No. 34. Air. Return, Oh God of Hosts! Behold / No. 35. Chorus. to Dust His Glory TH
5 Samson, Oratorio, HWV 57: Act 2. Scene 2. No. 36. Recitative. But Who Is This, That So Bedeck'd and Gay
6 Samson, Oratorio, HWV 57: Act 2. Scene 2. No. 37. Air. with Plaintive Notes and Am'rous Moan
7 Samson, Oratorio, HWV 57: Act 2. Scene 2. No. 38. Recitative. Alas! Th'event Was Worse Than I Foresaw;
8 Samson, Oratorio, HWV 57: Act 2. Scene 2. No. 39. Air. Your Charms to Ruin Led the Way
9 Samson, Oratorio, HWV 57: Act 2. Scene 2. No. 40. Recitative. Forgive What's Done, Nor Think of What's Past Cure
10 Samson, Oratorio, HWV 57: Act 2. Scene 2. No. 41. Duet. My Faith and Truth, Oh Samson, Prove, / No. 42. Chorus. Her Faith and
11 Samson, Oratorio, HWV 57: Act 2. Scene 2. No. 43. Air. to Fleeting Pleasures Make Your Court, / No. 42. Chorus. Her Faith and
12 Samson, Oratorio, HWV 57: Act 2. Scene 2. No. 44. Recitative. Ne'er Think of That! I Know Thy Warbling Charms
13 Samson, Oratorio, HWV 57: Act 2. Scene 2. No. 45. Duet. Traitor to Love! I'll Sue No More / Scene 3. No. 46. Recitative. She'
14 Samson, Oratorio, HWV 57: Act 2. Scene 3. No. 47. Air. It Is Not Virtue, Valour, Wit
15 Samson, Oratorio, HWV 57: Act 2. Scene 3. No. 48. Recitative. Favour'd of Heaven Is He, Who Finds One True
16 Samson, Oratorio, HWV 57: Act 2. Scene 3. No. 49. Chorus. to Man God's Universal Law
17 Samson, Oratorio, HWV 57: Act 2. Scene 4. No. 50. Recitative. No Words of Peace, No Voice Enchanting Fear
18 Samson, Oratorio, HWV 57: Act 2. Scene 4. No. 52. Recitative. Put on Your Arms
19 Samson, Oratorio, HWV 57: Act 2. Scene 4. No. 53. Air. My Strength Is from the Living God
20 Samson, Oratorio, HWV 57: Act 2. Scene 4. No. 54. Recitative. with Thee! a Man Condemn'd, a Slave Enroll'd
21 Samson, Oratorio, HWV 57: Act 2. Scene 4. No. 55. Duet. Go, Baffled Coward, Go
22 Samson, Oratorio, HWV 57: Act 2. Scene 4. No. 56. Recitative. Here Lie the Proff: If Dagon Be Thy God
23 Samson, Oratorio, HWV 57: Act 2. Scene 4. No. 57. Chorus. Hear, Jacob's God, Jehovah, Hear!
24 Samson, Oratorio, HWV 57: Act 2. Scene 4. No. 58. Recitative. Dagon, Arise! Attend Thy Sacred Feast!
25 Samson, Oratorio, HWV 57: Act 2. Scene 4. No. 59A. Air. to Song and Dance We Give the Day
26 Samson, Oratorio, HWV 57: Act 2. Scene 4. No. 59B. Chorus. to Song and Dance We Give the Day
27 Samson, Oratorio, HWV 57: Act 2. Scene 4. No. 60. Chorus. Fix'd in His Everlasting Seat

ディスク： 3

1 Samson, Oratorio, HWV 57: Act 3. Scene 1. No. 61. Recitative. More Trouble Is Behind; for Harapha
2 Samson, Oratorio, HWV 57: Act 3. Scene 1. No. 62. Air. Presuming Slave, to Move Their Wrath
3 Samson, Oratorio, HWV 57: Act 3. Scene 1. No. 63. Recitative. Reflect Then, Samson, Matters Now Are Strain'd
4 Samson, Oratorio, HWV 57: Act 3. Scene 1. No. 64. Chorus. with Thunder Arm'd Great God, Arise!
5 Samson, Oratorio, HWV 57: Act 3. Scene 1. No. 65. Recitative. Be of Good Courage; I Begin to Feel
6 Samson, Oratorio, HWV 57: Act 3. Scene 1. No. 66. Air. Thus When the Sun From's Wat'ry Bed
7 Samson, Oratorio, HWV 57: Act 3. Scene 1. No. 67. Recitative. with Might Endued Above the Sons of Men
8 Samson, Oratorio, HWV 57: Act 3. Scene 1. No. 68. Air. the Holy One of Israel Be Thy Guide, / No. 69. Chorus. to Fame Immorta
9 Samson, Oratorio, HWV 57: Act 3. Scene 2. No. 70. Recitative. Old Manoa, with Youthful Steps, Makes Haste
10 Samson, Oratorio, HWV 57: Act 3. Scene 2. No. 73. Recitative. What Noise of Joy Was That It Tore the Sky
11 Samson, Oratorio, HWV 57: Act 3. Scene 2. No. 74. Air. How Willing My Paternal Love
12 Samson, Oratorio, HWV 57: Act 3. Scene 2. No. 75. Recitative. Your Hopes of His Deliv'ry Seem Not Vain, / No. 76. Sinfonia /
13 Samson, Oratorio, HWV 57: Act 3. Scene 2. No. 79. Recitative. Noise Call You This An Universal Groan
14 Samson, Oratorio, HWV 57: Act 3. Scene 3. No. 80. Recitative. Whare Shall I Run, or Which Way Fly the Thoughts
15 Samson, Oratorio, HWV 57: Act 3. Scene 3. No. 81. Air. Ye Sons of Israel, Now Lament; / No. 82. Chorus. Weep Israel, Weep a L
16 Samson, Oratorio, HWV 57: Act 3. Scene 3. No. 83. Recitative. Proceed We Hence to Find His Body, Soak'd
17 Samson, Oratorio, HWV 57: Act 3. Scene 3. No. 84. Dead March
18 Samson, Oratorio, HWV 57: Act 3. Scene 3. No. 85. Recitative and Air. the Body Comes; We'll Meet It on the Way
19 Samson, Oratorio, HWV 57: Act 3. Scene 3. No. 87. Recitative. Come, Come! No Time for Lamentation Now
20 Samson, Oratorio, HWV 57: Act 3. Scene 3. No. 88. Air. Let the Bright Seraphim in Burning Row / No. 89. Chorus. Let the Brigh

商品の説明

内容紹介

Samson proved to be one of Handel's most popular oratorios during his lifetime, composed within weeks of Messiah. Thomas Randle sings a commanding title role ("Samson with attitude...: The Independent), with Lynda Russell's vocally seductive Dalila, and Catherine Wyn-Rogers' rich and expressive Micah. Samson opens with a pagan festival and closes with an elegy. Its finale is rightly established as one of the most famous arias of all time" "Let the bright Seraphim in burning row/ Their loud, uplifted angel-trumpets blow."

Product Description

Samson proved to be one of Handel's most popular oratorios during his lifetime, composed within weeks of Messiah. Thomas Randle sings a commanding title role ("Samson with attitude...: The Independent), with Lynda Russell's vocally seductive Dalila, and Catherine Wyn-Rogers' rich and expressive Micah. Samson opens with a pagan festival and closes with an elegy. Its finale is rightly established as one of the most famous arias of all time" "Let the bright Seraphim in burning row/ Their loud, uplifted angel-trumpets blow."

登録情報

  • メーカーにより製造中止になりました ‏ : ‎ いいえ
  • 製品サイズ ‏ : ‎ 14.61 x 12.19 x 2.49 cm; 193.91 g
  • メーカー ‏ : ‎ Coro
  • EAN ‏ : ‎ 0828021600821
  • 製造元リファレンス ‏ : ‎ COR16008
  • オリジナル盤発売日 ‏ : ‎ 2003
  • SPARSコード ‏ : ‎ DDD
  • レーベル ‏ : ‎ Coro
  • ASIN ‏ : ‎ B000067UM6
  • ディスク枚数 ‏ : ‎ 3
  • カスタマーレビュー:
    4.6 5つ星のうち4.6 22個の評価

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星5つ中4.6つ
5つのうち4.6つ
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上位レビュー、対象国： 日本

ClassicLoverinJapan
5つ星のうち3.0 もうちょっと短ければ・・・
2017年9月21日に日本でレビュー済み
Amazonで購入
「サムソン」ノーカット版です。ヘンデル本人も「こりゃ長すぎるわ」と思ってレチタティーヴォをカットしたのに、クリストファーズ氏が戻しています。一体なんで？？そのせいで話がなかなか進まず、迫力のない演奏になってしまっています。

それでも、古楽演奏が好みなら、今のところこれしかないです。ぜひガーディナーさん、ルネ・ヤーコプスさん、演奏してください！！
2人のお客様がこれが役に立ったと考えています
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LU
5つ星のうち5.0 Prima
2024年1月13日にドイツでレビュー済み
Amazonで購入
Prima
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ealovitt
5つ星のうち5.0 A comparison between Harry Christophers' and Raymond Leppard's recordings
2009年6月11日にアメリカ合衆国でレビュー済み
Amazonで購入
This Coro (C) edition of Handel's "Samson" with The Sixteen and Harry Christophers already has a very fine review, so my own comments will be limited to a comparison between this version (2002) and an earlier (1978) recording from Erato (E), with Raymond Leppard conducting the London Voices and the English Chamber Orchestra ( Handel - Samson / Tear · J. Baker · Watts · Shirley-Quirk · Luxon · Langridge · A. Oliver · Burrowes · Lott · ECO · Leppard ).

* Harry Christophers and his period-instrument orchestra (C) provide a brighter, more nimble performance that is about seven minutes shorter than Leppard's version (E). Raymond Leppard gives us a more majestic, operatic "Samson" that could seem slightly ponderous to modern tastes.

* The quicksilver melismas of The Sixteen (C) are a joy, their precise articulation a rare gift to the serious listener. However, the choral duel between the Israelites ("Jehovah!") and the Philistines ("Great Dagon!") is better suited to the volume of the London Voices (E). The Sixteen (C) sound more like a Cambridge debating society than a mob of religious zealots. Many of Handel's choruses in "Samson" require majesty rather than nimbleness, e.g. "With thunder arm'd great God, arise!" The Sixteen (C) make better Philistines. The London Voices make better Israelites!

* The soloists of both recordings are excellent, although the Erato (E) edition has better-known names, e.g. Dame Janet Baker as Delilah and Benjamin Luxon as Harapha. The real difference lies in the role of Samson. Thomas Randle (C) sings a beautiful, technically perfect Samson. Robert Tear (E) is Samson. Tenor Tear conveys the rage, power, and despair of this biblical hero. The thunderous interchanges between Samson and Delilah ("Traitor/Traitress to love!"), Harapha and Samson ("Presume not on thy God") come across much more emotionally in the Erato (E) recording. I also prefer alto Helen Watts (E) in the rather ambiguous role of Micah. Her expressive singing brings this character to life for me, especially in the poignant "Return, oh God of hosts! Behold thy servant in distress!" Dame Janet Baker (E) is a peerless Delilah.

* Harry Christophers (C) substitutes the "Dead March" from "Saul" (as eventually did Handel), while Raymond Leppard (E) uses the original "Dead March" from "Samson" in his recording.

I love both of these recordings of "Samson," but the version I listen to most often is the Leppard (E).
24人のお客様がこれが役に立ったと考えています
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DAVID BRYSON
5つ星のうち5.0 HANDEL AGONISTES
2004年3月11日に英国でレビュー済み
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The genesis of Handel’s Samson seems to have been a reading of Milton’s Samson Agonistes at the home of Lord Shaftesbury in late 1739. It seems that Handel was visibly impressed, as well he might have been. However the actual composition of the work did not begin until after Messiah in 1741, with its premiere in 1743.
I doubt that he ever produced a more perfect or a more consistently inspired work, certainly among his compositions of comparable size. Samson is in three acts, each neatly filling one cd. The libretto is by the formidable Jennens, who was famously not intimidated by the great man and who had told him not to mess around with the script in their previous collaboration over Saul. One way or another, it strikes me as one of the best libretti I have ever seen. Milton’s general scheme is followed faithfully but not pedantically. Jennens skilfully brings in the hedonistic Philistines right at the start for better stage-effect and musical contrast with the main action, and he expands Milton’s abrupt conclusion to provide suitable obsequies, not quite on the scale of Siegfried’s but still expansive and incorporating a far better funeral march in my own view, for the hero who smote the enemy and died unwounded by them. The reflective utterances of Milton’s impersonal ‘Chorus’ are partly personified into the character of Micah, partly given to what Handel knew as a chorus, and anyone unfamiliar with that has a musical experience indeed in store. The diction is almost entirely free of the affectation and artificiality that bedevilled 18th century English poetry, the ‘impure verbiage’ memorably ridiculed by Housman in The Name and Nature of Poetry. Many of Milton's best phrases and images are incorporated, indeed whole lines are here little altered, sometimes unchanged entirely. When Samson rebuffs Dalila, Milton’s epic sentence of 18 lines is adroitly reduced by Jennens to 6, and he removes any ambiguity from Dalila’s final departure. As given by Milton I could imagine this delivered either with defiance or with a shrug of the shoulders. With Jennens Dalila turns abruptly into a spitfire, and the opportunity is not lost on the composer.
Handel seems to me something of an old testament figure himself. The specifically Christian tone of meditation that is so marked in Bach is totally absent from anything I know by Handel. He is one of the prophets, born out of his time. Oratorio started with him and effectively ended with him so far as I am concerned. Measured against the true epic stuff of Handel, Mendelssohn is the feeble imitation of an excited curate that Shaw uncharitably called him, and when at the end of act II the stars in deep amaze at Jehovah fix’d in His everlasting seat hammer in their piledriver chords across the beat – there He is. Samson seems to have benefited from the time the composer took over it – I detect none of the signs of haste that I do in Messiah. One glorious and extended aria follows another, the recitatives show some of the variety and inventiveness of those in Messiah itself, and in the choruses, sung by 20 voices, I heard, as nearly always, the incomparable build of tone that Beecham described as not even remotely rivalled by any subsequent composer.
This type of performance is not the only kind I can imagine, but it suits me very well. No doubt an extra dimension of vividness and force would have been added if it had been Robert Tear, Jill Gomez and Tom Allen in the main parts, but by the second time of hearing I had stopped thinking about them entirely, even if I would still have welcomed a rather more heroic reading of the title part itself. The soloists here are out-and-out professionals obviously in their complete element with this music, and the 20-strong choir revel in the marvellous material they are given time after time repeatedly. The instrumentalists put me at my ease right away in the very attractive overture, there is some formidable virtuoso work by the violins, the incomparable Crispian Steel-Perkins gets his head in the final ‘Let the Bright Seraphim’, and the dead march which Handel on second thoughts imported from Saul in place of his original inspiration is awesome as ever, taken faster than Mackerras or Ledger take it in my versions of that masterpiece, and with a memorable timpani effect. Anyone contemplating a purchase would probably do well to consider the versions by Leppard and Harnoncourt also, indeed anyone with the time and money might well decide to obtain all three. Had I but world enough and time I might have done exactly that. For now I shall stick very happily indeed with what I have here.
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Beppi
5つ星のうち5.0 it is simply far the best Handel's Samson on cd
2016年12月28日に英国でレビュー済み
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There's no need of my recommendation, it is simply far the best Handel's Samson on cd.
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Lynda G. Christian
5つ星のうち5.0 A Rendition as strong as Samson
2014年7月14日にアメリカ合衆国でレビュー済み
Amazonで購入
A terrific rendition of a terrific opera. The chorus singing "Let the bright seraphim" is to die for.
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