Henry Purcell: The Fairy Queen – Caroline Mutel

The Fairy Queen Z 629 (Oper in 5 Akten) (Gesamtaufnahme)
Erste Musik: Präludium
Erste Musik: Hornpipe
Zweite Musik: Air
Zweite Musik: Rondo
Ouvertüre
Präludium – Come, come, let us leave the town (1. Akt)
Scene of the drunken poet: Fill up the bowl
Jig
Präludium (2. Akt)
Come all ye songsters of the sky
Präludium: Birds fly down, singing
May the god of wit inspire
Now join your warbling voices all
Sing while we trip it on the green
See, even night herself is here
I am come to lock all fast
One charming night
Hush, no more, be silent all
A dance for the followers of night
Air
Präludium (3. Akt)
Ouvertüre: Symphony while the swans come forward
Dance for the fairies
Ye gentle spirits of the air, appear
Now the maids and the men
Dance for the haymakers
When I have often heard
A thousand, thousand ways we’ll find
Hornpipe
Sinfonia (4. Akt)
Now the night is chas’d away
Let the Fifes, and the Clarions
Entry of Phoebus
When a cruel long winter
Hail! Great parent of us all
Thus the ever grateful Spring
Here’s the Summer, sprightly, gay
See, see my many colour’d fields
Next, Winter comes slowly – Hail! Great parent of us all
Air
Prelude to Juno’s song (5. Akt)
Thrice happy lovers
O let me weep
Entry dance
Sinfonia
Thus the gloomy world
Thus happy and free
Monkey’s dance
Hark! How all things in one sound agree
Hark! The echoing air
Sure, the dull god of marriage
Präludium – See, see, I obey – Turn then thine eyes – My torch, indeed will from such brightness shine
They shall be as happy
Chaconne: Dance for the Chinese man & woman

Caroline Mutel, Virginie Pochon, Hjördis Thebault, Caitlin Hulcup, Christophe Baska, Les Noveaux Caractères, Sebastien d’Hérin

Format: 2 CD
Release date: 1/9/2017
SKU: 8424562227026 Categorieën: ,

31,90€

   in Classical Music (Nov, 2017)
In 2016, the Academy of Ancient Music staged The Fairy Queen memorably at the Barbican; no easy task, given the piece is essentially a procession of masques, not an opera. Purcell’s 1692 score is actually a succession of musical jewels, arguably best enjoyed on a recording such as this.

Caroline Mutel and Guillaume Andrieux sound a touch careful in the opening duet; in contrast, Kevin Greenlaw is a magnificently drunk-as-a-lord poet. The performance is generally highly polished, the English pronunciation excellent. In the final act great Plaint, ‘O let me weep,’ Mutel is superb.

The high tenor duet, ‘Let the pipes and the clarions’, is tastefully delivered by Anders Dahlin and …

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