Manfred Huss - Haydn, F.J.: Philemon Und Baucis [Opera] (2009) [Hi-Res]
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BAND/ARTIST: Manfred Huss
- Title: Haydn, F.J.: Philemon Und Baucis [Opera]
- Year Of Release: 2009
- Label: BIS
- Genre: Classical
- Quality: flac lossless +booklet
- Total Time: 00:59:45
- Total Size: 264 / 533 mb
- WebSite: Album Preview
Tracklist
01. Overture, Der Gotterat Adagio e maestoso - Allegro di molto
02. Overture, Der Gotterat Andante moderato
03. Prologue on Mount Olympus Bravo, bravo! (Mercury, Jupiter)
04. Overture, Philemon und Baucis Allegro con espressione
05. Overture, Philemon und Baucis Andante con poco allegro
06. Scene 1 In Wolken, hoch emporgetragen (Peasant men and women, Philemon, Baucis)
07. Scene 2 Die Greul un Laster (Jupiter, Mercury)
08. Scene 2 Intermezzo Adagio in G Major
09. Scene 3 Philemon, welch ein Trost un welch ein Gluck (Baucis, Philemon)
10. Scene 4 Zwei Pilger, welche Nacht und Hunger uberfallt (Jupiter, Philemon, Baucis, Mercury)
11. Scene 5 Der Rat der Gotter ist oft verborgen (Jupiter, Mercury)
12. Scene 5 Aria Mehr als zwanzig Jahr'Vermahlte (Philemon)
13. Scene 5 Funf Sommer band sie nun die Macht der Liebe (Philemon, Jupiter, Mercury)
14. Scene 5 Aria Ein Tag, der allen Freude bringt (Philemon)
15. Scene 5 Mein Herz spurt Ruhrung und Erbarmen! (Jupiter, Philemon, Mercury)
16. Paride ed Elena, Act 1 Ballo
17. Scene 6 Nun, liebe Freunde, kommt! (Baucis, Philemon, Jupiter)
18. Scene 7 Ach, Baucis, ist es nicht ein wahrer Schmerz (Philemon)
19. Scene 7 Aria Heut fuhl ich der Armut Schwere (Baucis)
20. Scene 7 Mein lieber Mann, wir leben nun schon eine lange Zeit (Baucis)
21. Scene 8 Ihr Gotter, ihr wisst es selbst (Philemon)
22. Scene 9 Der gute alte Mann (Jupiter, Philemon, Mercury)
23. Scene 10 Die Unschuld dieser guten Leute (Jupiter, Mercury)
24. Musica della parodie d'Alceste Menuetto in F Major
25. Scene 11 Wo bin ich (Aret, Narcissa, Jupiter)
26. Scene 12 Ist es mein Geist (Narcissa)
27. Scene 12 Aria Wenn am weiten Firmamente … (Aret)
28. Scene 12 Ich staune! - Hat dich auch der schone Traum beruckt (Narcissa)
29. Scene 12 Aria Dir der Unschuld Seligkeit (Narcissa)
30. Scene 12 O Wunder, mein Verstand wird niemals dich erreichen! (Aret)
31. Scene 12 Duet Entflohn ist nun der Schlummer (Aret, Narcissa)
32. Scene 13 Vergebt mir, Freunde, liebe Gaste … (Baucis, Aret, Narcissa)
33. Scene 14 Was hor ich fur ein Angstgeschrei (Philemon, Aret, Narcissa)
34. Scene 14 Intermezzo
35. Scene 15 Durch eure Redlichkeit (Jupiter, Philemon, Baucis, Mercury)
36. Divertimento in B-Flat Major, Hob.II46, Chorale St. Antoni
37. Scene 15 Allamchtiger! Ich danke dir! (Philemon, Baucis, Narcissa, Aret)
38. Scene 16 Kaum ist ein goldner Tempel vom Himmel gefallen (Peasant men and women, Mercury, Jupiter)
39. Scene 17 Triumph, dem Gott der Gotter! (Chorus, Philemon, Baucis, Aret, Narcissa)
Among the musical venues at the palace of Haydn's employer, Prince Nikolaus Esterházy, was a marionette theater. Haydn composed several little operas for this venture so alien to the 19th century's way of thinking about music, and sure enough, most have been lost. The present work, Philemon und Baucis (1773), survives in the most complete form, but still took a good deal of editing of text and music to bring it to a performable state. The text restoration by Hermann Beil, done in conjunction with the 200th anniversary of Haydn's death in 2009, is admirably effective and brings this very rare Haydn work alive. The piece is like a singspiel, with spoken dialogue (some of it trimmed by Beil to restore continuity destroyed by missing music) framing sung arias by six marionette characters taken from an episode in the "Metamorphoses" by Roman poet Ovid. You might be expecting satirical comedy from a marionette show, but the doggerel-like libretto offers something different, reworking the Roman material into a paean to virtue and divine benevolence that Haydn's audience would have read as an attempt to butter up the Austrian emperor. This said, the work is charming. Philemon and Baucis are a peasant couple who have seen their son and his fiancée destroyed by a lightning bolt on their wedding day. They offer hospitality to the gods Jupiter and Mercury, who have come to terra firma in order to sweep away a corrupt human society with a flood (adding a biblical element to the mix). But the two gods are so impressed with the generosity of Philemon and Baucis that they decide not only to spare them but also to revive their son, Aret, and his confused-but-soon-delighted bride Narcissa, and finally to turn their house into a palace. (Ovid added a lovely third detail: at the end, Philemon and Baucis are turned into an oak tree and a lime tree. But Haydn's opera leaves this out.) Haydn's draws back from the pomp of the gods' opening appearance, complete with violent thunderstorm, to a long series of quiet arias by the reawakened lovers; these ought to inspire someone to try to stage the work, for Haydn creates a mood of musical enchantment here. All the singers keep the volume down and inhabit their characters effectively, but the chorus selected by Haydn Sinfonietta Wien conductor Manfred Huss is too large for what must have been the quite intimate dimensions of Haydn's theater. The super audio sound from the BIS label, however, is excellent and captures the entire dynamic range of the performance. Recommended for any Haydn collection or for any producer looking for a short comic opera that most audiences won't know.
01. Overture, Der Gotterat Adagio e maestoso - Allegro di molto
02. Overture, Der Gotterat Andante moderato
03. Prologue on Mount Olympus Bravo, bravo! (Mercury, Jupiter)
04. Overture, Philemon und Baucis Allegro con espressione
05. Overture, Philemon und Baucis Andante con poco allegro
06. Scene 1 In Wolken, hoch emporgetragen (Peasant men and women, Philemon, Baucis)
07. Scene 2 Die Greul un Laster (Jupiter, Mercury)
08. Scene 2 Intermezzo Adagio in G Major
09. Scene 3 Philemon, welch ein Trost un welch ein Gluck (Baucis, Philemon)
10. Scene 4 Zwei Pilger, welche Nacht und Hunger uberfallt (Jupiter, Philemon, Baucis, Mercury)
11. Scene 5 Der Rat der Gotter ist oft verborgen (Jupiter, Mercury)
12. Scene 5 Aria Mehr als zwanzig Jahr'Vermahlte (Philemon)
13. Scene 5 Funf Sommer band sie nun die Macht der Liebe (Philemon, Jupiter, Mercury)
14. Scene 5 Aria Ein Tag, der allen Freude bringt (Philemon)
15. Scene 5 Mein Herz spurt Ruhrung und Erbarmen! (Jupiter, Philemon, Mercury)
16. Paride ed Elena, Act 1 Ballo
17. Scene 6 Nun, liebe Freunde, kommt! (Baucis, Philemon, Jupiter)
18. Scene 7 Ach, Baucis, ist es nicht ein wahrer Schmerz (Philemon)
19. Scene 7 Aria Heut fuhl ich der Armut Schwere (Baucis)
20. Scene 7 Mein lieber Mann, wir leben nun schon eine lange Zeit (Baucis)
21. Scene 8 Ihr Gotter, ihr wisst es selbst (Philemon)
22. Scene 9 Der gute alte Mann (Jupiter, Philemon, Mercury)
23. Scene 10 Die Unschuld dieser guten Leute (Jupiter, Mercury)
24. Musica della parodie d'Alceste Menuetto in F Major
25. Scene 11 Wo bin ich (Aret, Narcissa, Jupiter)
26. Scene 12 Ist es mein Geist (Narcissa)
27. Scene 12 Aria Wenn am weiten Firmamente … (Aret)
28. Scene 12 Ich staune! - Hat dich auch der schone Traum beruckt (Narcissa)
29. Scene 12 Aria Dir der Unschuld Seligkeit (Narcissa)
30. Scene 12 O Wunder, mein Verstand wird niemals dich erreichen! (Aret)
31. Scene 12 Duet Entflohn ist nun der Schlummer (Aret, Narcissa)
32. Scene 13 Vergebt mir, Freunde, liebe Gaste … (Baucis, Aret, Narcissa)
33. Scene 14 Was hor ich fur ein Angstgeschrei (Philemon, Aret, Narcissa)
34. Scene 14 Intermezzo
35. Scene 15 Durch eure Redlichkeit (Jupiter, Philemon, Baucis, Mercury)
36. Divertimento in B-Flat Major, Hob.II46, Chorale St. Antoni
37. Scene 15 Allamchtiger! Ich danke dir! (Philemon, Baucis, Narcissa, Aret)
38. Scene 16 Kaum ist ein goldner Tempel vom Himmel gefallen (Peasant men and women, Mercury, Jupiter)
39. Scene 17 Triumph, dem Gott der Gotter! (Chorus, Philemon, Baucis, Aret, Narcissa)
Among the musical venues at the palace of Haydn's employer, Prince Nikolaus Esterházy, was a marionette theater. Haydn composed several little operas for this venture so alien to the 19th century's way of thinking about music, and sure enough, most have been lost. The present work, Philemon und Baucis (1773), survives in the most complete form, but still took a good deal of editing of text and music to bring it to a performable state. The text restoration by Hermann Beil, done in conjunction with the 200th anniversary of Haydn's death in 2009, is admirably effective and brings this very rare Haydn work alive. The piece is like a singspiel, with spoken dialogue (some of it trimmed by Beil to restore continuity destroyed by missing music) framing sung arias by six marionette characters taken from an episode in the "Metamorphoses" by Roman poet Ovid. You might be expecting satirical comedy from a marionette show, but the doggerel-like libretto offers something different, reworking the Roman material into a paean to virtue and divine benevolence that Haydn's audience would have read as an attempt to butter up the Austrian emperor. This said, the work is charming. Philemon and Baucis are a peasant couple who have seen their son and his fiancée destroyed by a lightning bolt on their wedding day. They offer hospitality to the gods Jupiter and Mercury, who have come to terra firma in order to sweep away a corrupt human society with a flood (adding a biblical element to the mix). But the two gods are so impressed with the generosity of Philemon and Baucis that they decide not only to spare them but also to revive their son, Aret, and his confused-but-soon-delighted bride Narcissa, and finally to turn their house into a palace. (Ovid added a lovely third detail: at the end, Philemon and Baucis are turned into an oak tree and a lime tree. But Haydn's opera leaves this out.) Haydn's draws back from the pomp of the gods' opening appearance, complete with violent thunderstorm, to a long series of quiet arias by the reawakened lovers; these ought to inspire someone to try to stage the work, for Haydn creates a mood of musical enchantment here. All the singers keep the volume down and inhabit their characters effectively, but the chorus selected by Haydn Sinfonietta Wien conductor Manfred Huss is too large for what must have been the quite intimate dimensions of Haydn's theater. The super audio sound from the BIS label, however, is excellent and captures the entire dynamic range of the performance. Recommended for any Haydn collection or for any producer looking for a short comic opera that most audiences won't know.
Classical | FLAC / APE | HD & Vinyl
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