작곡가

:   George Frederick Handel (조지 프리더릭 헨델)

장르

:  

Opera

스타일

:  

Opera

작곡년도

:   1711

평균연주

:   154:20

악장

1

Overture. Largo - Allegro - Largo, Gigue

4:24

2

Act 1. Scene 1 : Delle nostre fatiche siam prossimi alla meta

2:45

3

Act 1. Scene 1 : Sovra balze scoscesi e pungenti

4:28

4

Act 1. Scene 1 : Signor, già dal tuo senno

1:27

5

Act 1. Scene 1 : Combatti da forte

3:30

6

Act 1. Scene 1 : Questi saggi consigli accogli nel tuo sen

3:23

7

Act 1. Scene 3 : Ogni indugio d'un amante è una pena

4:15

8

Act 1. Scene 2 : Signor, che delle stelle emuli i pregi

2:28

9

Act 1. Scene 2 : Sulla ruota di fortuna va girando la speranza

null

10

Act 1. Scene 3 : Sibillar gli angui d'Aletto

4:49

11

Act 1. Scene 3 : Goffredo, se t'arrise sin qui fortuna

1:37

12

Act 1. Scene 3 : No, no, che quest'alma scontenti non dà

null

13

Act 1. Scene 4 : Infra dubbi di Marte resta sospeso il cuore

4:28

14

Act 1. Scene 4 : Vieni, o cara, a consolarmi

null

15

Act 1. Scene 5 : Furie terribili

2:37

16

Act 1. Scene 5 : Come a tempo giungesti, cara (Accompagnato)

1:35

17

Act 1. Scene 5 : Molto voglio, molto spero

2:47

18

Act 1. Scene 6 : Augelletti, che cantate

5:49

19

Act 1. Scene 6 : Adorato mio sposo, vieni a bear quest'alma

4:03

20

Act 1. Scene 6 : Scherzano sul tuo volto le grazie vezzosette

4:37

21

Act 1. Scene 7 : Al valor del mio brando cedi la nobil preda

1:23

22

Act 1. Scene 7 : Prelude

0:26

23

Act 1. Scene 7 : Cara sposa, amante cara, dove sei?

8:45

24

Act 1. Scene 8 : Ch'insolito stupore lega i sensi tuoi

4:03

25

Act 1. Scene 8 : Cor ingrato, ti rimembri, e non scoppi di dolor?

4:36

26

Act 1. Scene 8 : Io all'ora impugno il brando

null

27

Act 1. Scene 8 : Col valor, colla virtù or si vada a trionfar

3:41

28

Act 1. Scene 9 : Di speranza un bel raggio ritorni

4:19

29

Act 1. Scene 9 : Venti, turbini, prestate le vostre ali a questo piè!

4:04

30

Act 2. Scene 1 : Siam prossimi al porto

3:32

31

Act 2. Scene 2 : A quel sasso bramato

1:06

32

Act 2. Scene 3 : Per raccor d'Almirena i più dolci respiri

0:32

33

Act 2. Scene 3 : Il vostro maggio de' bei verdi anni

1:44

34

Act 2. Scene 3 : Qual incognita forza mi spinge

1:43

35

Act 2. Scene 3 : Il Tricerbero umiliato

1:53

36

Act 2. Scene 3 : Signor, strano ardimento!

3:53

37

Act 2. Scene 3 : Mio cor, che mi sai dir?

null

38

Act 2. Scene 4 : Armida dispietata!

1:57

39

Act 2. Scene 4 : Lascia ch'io pianga mia cruda sorte

4:12

40

Act 2. Scene 4 : Ah! sul bel labbro Amore di possente magia formò le note

3:04

41

Act 2. Scene 4 : Basta che sol tu chieda

2:25

42

Act 2. Scene 5 : Cingetemi d'aldoro le trionfali chiome

2:43

43

Act 2. Scene 6 : Perfida, un cor illuste ha ben forza

null

44

Act 2. Scene 6 : Fermati - No, crudel

2:18

45

Act 2. Scene 7 : Crudel, tu ch'involasti al mio core la calma

3:49

46

Act 2. Scene 7 : Abbrugio, avvampo e fremo

null

47

Act 2. Scene 8 : Dunque i lacci d'un volto (Accompagnato)

5:38

48

Act 2. Scene 8 : Ah! Crudel, il pianto mio, deh! Ti mova

6:19

49

Act 2. Scene 9 : Riprendiam d'Almirena il menttito sembiante

2:11

50

Act 2. Scene 10 : Adorata Almirena, ogni breve

null

51

Act 2. Scene 10 : Vo' far guerra, e vincer voglio

6:20

52

Act 3. Scene 1 : Quivi par che rubelle la terra s'alzi

2:13

53

Act 3. Scene 2 : La causa che vi spinge in sì remota pa

null

54

Act 3. Scene 2 : Sinfonia

1:54

56

Act 3. Scene 2 : Qui vomita Cocito tutta sua nera peste

3:49

57

Act 3. Scene 2 : Andate, o forti, fra stragi e morti

2:24

58

Act 3. Scene 3 : Mori svenata! - O Numi!

4:01

59

Act 3. Scene 4 : Nella guardata soglia come osaste portar sicuro

null

60

Act 3. Scene 4 : Sorge nel petto certo diletto

4:27

61

Act 3. Scene 4 : Al trionfo s'affretti senza ritardo il corso!

4:26

62

Act 3. Scene 4 : È un incendio fra due venti

null

63

Act 3. Scene 5 : Chiuso fra quelle mura langue il comun valore

3:06

64

Act 3. Scene 6 : Per fomentar lo sdegno a front

null

65

Act 3. Scene 6 : In quel bosco di strali

3:36

66

Act 3. Scene 6 : Al trionfo del nostro furore or corriamo

3:46

67

Act 3. Scene 7 : Di quei strani accidenti se la serie ripiglio

2:58

68

Act 3. Scene 7 : Bel piacere è godere fido amor!

1:46

69

Act 3. Scene 8 : Signor, l'oste nemica con barbari ululati s'avvicina

2:57

70

Act 3. Scene 8 : Di Sion nell'alta sede

null

71

Act 3. Scene 9 : March

1:52

72

Act 3. Scene 9 : Se ciò t'è in grado, o prence

4:06

73

Act 3. Scene 9 : Or la tromba in suon festante mi richiama a trionfar

3:55

74

Act 3. Scene 10 : Miei fidi, ecco là un campo colmo di mille furi

2:16

75

Act 3. Scene 11 : Magnanimi campioni, ecco

null

76

Act 3. Scene 11 : Battaglia

1:34

77

Act 3. Scene 12 : Goffredo, ecco il superbo in lacci avvolto

1:58

78

Act 3. Scene 13 : Ecco, german, la cruda

null

79

Act 3. Scene 13 : Vinto è sol dalla virtù degli affetti il reo livor

1:38

Rinaldo (HWV 7) is an opera by George Frideric Handel composed in 1711. It is the first Italian language opera written specifically for the London stage. The libretto was prepared by Giacomo Rossi from a scenario provided by Aaron Hill. The work was first performed at the Queen's Theatre in London's Haymarket on 24 February 1711. The story of love, battle and redemption set at the time of the First Crusade is loosely based on Torquato Tasso's epic poem Gerusalemme liberata (Jerusalem Delivered), and its staging involved many original and vivid effects. It was a great success with the public, despite negative reactions from literary critics hostile to the trend towards Italian entertainment in English theatres. Handel composed the music for Rinaldo quickly. Much of it is borrowings and adaptations from operas and other works that Handel had composed during his long stay in Italy during 1706–10. In the years following the premiere, Handel frequently introduced new numbers, discarded others, and transposed parts to different voice ranges. Despite the lack of a standard edition, Rinaldo's spectacular vocal and orchestral passages make it one of Handel's greatest operas. Of its individual numbers, the soprano aria "Lascia ch'io pianga" has become a particular favourite and is a popular concert piece. Handel went on to dominate opera in England for several decades. Rinaldo was revived in London regularly up to 1717, and a revised version was presented in 1731. The opera was also performed in several European cities. During Handel's lifetime, Rinaldo was the most frequently performed of all the composer's musical dramas. After 1731, however, the opera was not staged for more than 200 years. Renewed interest in baroque opera during the 20th century led to the first modern professional production in Handel's birthplace, Halle, Germany, in 1954. The opera was mounted sporadically over the following thirty years. After a successful run at New York's Metropolitan Opera in 1984, performances and recordings of the work have become more frequent worldwide. The opera's tercentenary in 2011 brought a modernized production at the Glyndebourne Festival.
Handel began to compose operas in Hamburg, where he spent the years 1703–06; his principal influences were Johann Mattheson and Reinhard Keiser. At that time, German opera as a genre was still not clearly defined; in Hamburg the term Singspiel ("song-play") rather than opera described music dramas that combined elements of French and Italian opera, often with passages of spoken German dialogue. The music was, in the words of historian Donald Jay Grout, "tinged with the serious, heavy formality of Lutheran Germany". The first of Handel's early works in the German style was Almira, a considerable success when it was premiered on 8 January 1705. Over the next three years Handel composed three more operas in the German style, but all of these are now lost. However, fragments of the music from these works have been identified in later operas.

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