Rundfunk-Sinfonie Orchester Leipzig, Herbert Kegel, Rundfunkchor Leipzig - Orff: Trionfi (2015)
BAND/ARTIST: Rundfunk-Sinfonie Orchester Leipzig, Herbert Kegel, Rundfunkchor Leipzig
- Title: Orff: Trionfi
- Year Of Release: 2015
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 02:17:05
- Total Size: 600 mb
- WebSite: Album Preview
Tracklist
01. Fortuna imperatrix mundi: Fortuna (Chorus)
02. Fortuna imperatrix mundi: Fortune plango vulnero (Chorus)
03. Primo vere: Veris leta facies (Semi-Chorus)
04. Primo vere: Omnia sol temperat (Baritone solo)
05. Primo vere: Ecce gratum (Chorus)
06. Uf dem anger: Tanz (Orchestra)
07. Uf dem anger: Floret silva (Chorus)
08. Uf dem anger: Chramer, gip die varwe mir (Chorus)
09. Uf dem anger: Reie - (Andante poco esitante) - Swaz hie got umbe - Chume, chum geselle min [Semi-Chorus] - Swaz hie got umbe [Chorus]
10. Uf dem anger: Were diu werlt alle min (Chorus)
11. In Taberna: Estuans interius (Baritone-Solo)
12. In taberna: Olim lacus colueram (Tenor-Solo)
13. In taberna: Ego sum abbas (Men's Choir)
14. In taberna: In taberna quando sumus (Men's Choir)
15. Cour d'amours: Amor volat undique - siqua sine socio
16. Cour d'amours: Dies, nox et omnia (Baritone-Solo)
17. Cour d'amours: Stetit puella (Soprano-Solo)
18. Cour d'amours: Circa mea pactora (Baritone-Solo)
19. Cour d'amours: Si puer cum puellula (Male Semi-Chorus)
20. Cour d'amours: Veni, veni, venias (Double choir)
21. Cour d'amours: In trutina (Soprano-Solo)
22. Cour d'amours: Tempus est iocundum (Soprano-Solo, Baritone-Solo, Chorus and Boys)
23. Cour d'amours: Dulcissime (Soprano-Solo)
24. Balnziflor et Helena: Ave formosissima (Chorus)
25. Fortuna imperatrix mundi: O fortuna (Chorus)
26. Catulli carmina: Praelusio. Eis aiona - In te habitant - O res ridicula - Sublata lucerna (Chorus)
27. Actus I: I. Odi et amo - II. Vivamus, mea Lesbia - III. Ille Mi par esse deo videtur - IV. Caeli! - V. Nulli se dicit (Chorus, Tenor, Soprano)
28. Actus II: VI. Jucundum mea vita - VII. O mea Lesbia! (Chorus, Soprano, Tenor)
29. Actus III: VIII. Odi et amo - IX. Amabo, mea dulcis Ipsitilla - X. Ameana puella defututa - XI. Ah! Miser catulle - XII. Nulla potest mulier (Chorus, Tenor, Soprano)
30. Exodium: Eis aiona tui sum! (Chorus)
31. Concerto scenico: I. Canto amebeo di vergini e giovani a vespero in attesa della sposa e dello sposo (Catull)
32. Concerto scenico: II. Corteo nuziale ed arrivo della sposa e dello sposo (Sappho)
33. Concerto scenico: III. Sposa e sposo. I. Za tèlexaman onar Kyprogenaia - II. Espere, Espere panta phereis -III. Katthanen d'imeros tis... - IV. Eis aei (Sappho)
34. Concerto scenico: IV. Invocazione dell' Imeneo (Catull)
35. Concerto scenico: Inno all' Imeneo. V. Ludi e canti nuziale davanti al talamo (Catull)
36. La sposa viene accolta: I. Claustra pandite ianuae -II. Flere desine, non tib', Aurunculeia
37. La sposa viene condotta alla camera nuziale tollit', o pueri faces
38. Epitalamo: I. Lam licet venias - II. Ille pulveris Africi (Catull)
39. Concerto scenico: VI. Canto di novelli sposi dol talamo (Sappho)
40. Concerto scenico: VII. Apparizione di Afrodite (Euripides)
Orff’s best-known composition is more frequently encountered in the concert hall than in the opera house, but it was originally conceived for the stage, where it became the first panel of a theatrical triptych which references the lavish and exotic tableaux of Renaissance entertainments at ducal palaces in Mantova, Florence and Rome. The common theme of the trilogy’s diverse parts is the triumph of love, wherever it is encountered: in the beer-soaked medieval taverns of Carmina burana, the urgent Classical poetry of Catullus or the more refined and elliptical reflections on Eros by Sappho and Euripides.
Over the 15 years of its composition, the soundworld of Trionfi evolved, from the crashing gongs and brass of Carmina burana to an emphasis on percussive instruments – piano, drums, xylophones prominent among them – in the more direct, less lyrically effusive setting of Trionfo di Afrodite. Throughout, however, the influence of Stravinsky is palpable in word-setting, harmony and instrumentation, and in particular his vernacular masterpiece Les Noces: indeed Trionfo di Afrodite also depicts a wedding.
Recordings of the complete trilogy are far less frequently encountered than the standalone blockbuster that is Carmina burana, and this 1970s East-German set has much to recommend it, not least the punchy, no-nonsense direction of Herbert Kegel (who conducted and recorded very many of Orff’s large-scale works, including his operas) and some radiant soprano singing from his wife at the time, Celestina Casapietra. "What distinguishes the music-making throughout," considered Gramophone’s critic in 1979, "is the consistently superb singing of the Leipzig choir, from which Kegel produces thrillingly clean articulation and the widest range of dynamic contrast and colour … performances that are all among the finest available."
01. Fortuna imperatrix mundi: Fortuna (Chorus)
02. Fortuna imperatrix mundi: Fortune plango vulnero (Chorus)
03. Primo vere: Veris leta facies (Semi-Chorus)
04. Primo vere: Omnia sol temperat (Baritone solo)
05. Primo vere: Ecce gratum (Chorus)
06. Uf dem anger: Tanz (Orchestra)
07. Uf dem anger: Floret silva (Chorus)
08. Uf dem anger: Chramer, gip die varwe mir (Chorus)
09. Uf dem anger: Reie - (Andante poco esitante) - Swaz hie got umbe - Chume, chum geselle min [Semi-Chorus] - Swaz hie got umbe [Chorus]
10. Uf dem anger: Were diu werlt alle min (Chorus)
11. In Taberna: Estuans interius (Baritone-Solo)
12. In taberna: Olim lacus colueram (Tenor-Solo)
13. In taberna: Ego sum abbas (Men's Choir)
14. In taberna: In taberna quando sumus (Men's Choir)
15. Cour d'amours: Amor volat undique - siqua sine socio
16. Cour d'amours: Dies, nox et omnia (Baritone-Solo)
17. Cour d'amours: Stetit puella (Soprano-Solo)
18. Cour d'amours: Circa mea pactora (Baritone-Solo)
19. Cour d'amours: Si puer cum puellula (Male Semi-Chorus)
20. Cour d'amours: Veni, veni, venias (Double choir)
21. Cour d'amours: In trutina (Soprano-Solo)
22. Cour d'amours: Tempus est iocundum (Soprano-Solo, Baritone-Solo, Chorus and Boys)
23. Cour d'amours: Dulcissime (Soprano-Solo)
24. Balnziflor et Helena: Ave formosissima (Chorus)
25. Fortuna imperatrix mundi: O fortuna (Chorus)
26. Catulli carmina: Praelusio. Eis aiona - In te habitant - O res ridicula - Sublata lucerna (Chorus)
27. Actus I: I. Odi et amo - II. Vivamus, mea Lesbia - III. Ille Mi par esse deo videtur - IV. Caeli! - V. Nulli se dicit (Chorus, Tenor, Soprano)
28. Actus II: VI. Jucundum mea vita - VII. O mea Lesbia! (Chorus, Soprano, Tenor)
29. Actus III: VIII. Odi et amo - IX. Amabo, mea dulcis Ipsitilla - X. Ameana puella defututa - XI. Ah! Miser catulle - XII. Nulla potest mulier (Chorus, Tenor, Soprano)
30. Exodium: Eis aiona tui sum! (Chorus)
31. Concerto scenico: I. Canto amebeo di vergini e giovani a vespero in attesa della sposa e dello sposo (Catull)
32. Concerto scenico: II. Corteo nuziale ed arrivo della sposa e dello sposo (Sappho)
33. Concerto scenico: III. Sposa e sposo. I. Za tèlexaman onar Kyprogenaia - II. Espere, Espere panta phereis -III. Katthanen d'imeros tis... - IV. Eis aei (Sappho)
34. Concerto scenico: IV. Invocazione dell' Imeneo (Catull)
35. Concerto scenico: Inno all' Imeneo. V. Ludi e canti nuziale davanti al talamo (Catull)
36. La sposa viene accolta: I. Claustra pandite ianuae -II. Flere desine, non tib', Aurunculeia
37. La sposa viene condotta alla camera nuziale tollit', o pueri faces
38. Epitalamo: I. Lam licet venias - II. Ille pulveris Africi (Catull)
39. Concerto scenico: VI. Canto di novelli sposi dol talamo (Sappho)
40. Concerto scenico: VII. Apparizione di Afrodite (Euripides)
Orff’s best-known composition is more frequently encountered in the concert hall than in the opera house, but it was originally conceived for the stage, where it became the first panel of a theatrical triptych which references the lavish and exotic tableaux of Renaissance entertainments at ducal palaces in Mantova, Florence and Rome. The common theme of the trilogy’s diverse parts is the triumph of love, wherever it is encountered: in the beer-soaked medieval taverns of Carmina burana, the urgent Classical poetry of Catullus or the more refined and elliptical reflections on Eros by Sappho and Euripides.
Over the 15 years of its composition, the soundworld of Trionfi evolved, from the crashing gongs and brass of Carmina burana to an emphasis on percussive instruments – piano, drums, xylophones prominent among them – in the more direct, less lyrically effusive setting of Trionfo di Afrodite. Throughout, however, the influence of Stravinsky is palpable in word-setting, harmony and instrumentation, and in particular his vernacular masterpiece Les Noces: indeed Trionfo di Afrodite also depicts a wedding.
Recordings of the complete trilogy are far less frequently encountered than the standalone blockbuster that is Carmina burana, and this 1970s East-German set has much to recommend it, not least the punchy, no-nonsense direction of Herbert Kegel (who conducted and recorded very many of Orff’s large-scale works, including his operas) and some radiant soprano singing from his wife at the time, Celestina Casapietra. "What distinguishes the music-making throughout," considered Gramophone’s critic in 1979, "is the consistently superb singing of the Leipzig choir, from which Kegel produces thrillingly clean articulation and the widest range of dynamic contrast and colour … performances that are all among the finest available."
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