Nicola Porpora - Il Gedeone (1999)

Il Gedeone (Oratorium in 2 Teilen) (Gesamtaufnahme)

Disk 1 

1 Introduzione
2 Rezitativ: Principe a te ritorno apportatore (1. Teil)
3 Arie: Quasi locuste che intorno
4 Rezitativ: Mar forse disperati
5 Arie: Quell' aura lusinghiera
6 Rezitativ: Padre non più vana
7 Arie: Tu se' il minore de tuoi fratelli
8 Rezitativ: Signor del popol tutto
9 Arie: Mi vegga, oh Dio
10 Rezitativ: In qual dubbio d'affetti
11 Arie: Di nemico sangue il campo
12 Arie: Odo le strida, già vaggo il volto
13 Rezitativ: Oh Dio, che troppo sono potenti
14 Rezitativ: D'una dolce speranza
15 Arie: Cadranno i lupi fieri
16 Terzett: A quella omnipotente man
17 Chor: Signor, le tue minacce noi provammp

Disk 2 

1 Sinfonia (2. Teil)
2 Rezitativ: Sichemi perche mai lui
3 Arie: L'alte strida
4 Rezitativ: Ove' son giunto, ohime infelice
5 Arie: A pur vinto, o sorte barbara
6 Rezitativ: Alfin sè giunto al varco dallo
7 Arie: O beato fortunato
8 Rezitativ: Che fia di Gedeone?
9 Chor: Lodi al Dio delle vittorie
10 Rezitativ: Non le mie
11 Arie: Cogliete, amici, il frutto di vostra fede
12 Rezitativ: M'abbondano le lagrime per doppia gioia
13 Chor: Chi nel signor confida non perisce in eterno

Kai Wessel (countertenor)
Ulf Bästlein (bass)
Linda Perillo (soprano)
Jörg Waschinski (countertenor)
Vokalensemble Nova
Wiener Akademie
Martin Haselböck - conductor

With a libretto based on the Old Testament account of Gideon and his non-violent triumph over the Midianites, the Neapolitan composer Nicola Porpora (1686-1768) produced a score which, though far from consistent, has moments of great beauty. Among them are Gideon’s aria ‘Cadranno i lupi’; a sublime Sinfonia at the opening of Part Two; a couple of fine choruses and, above all, beautifully wrought recitatives. These apart, don’t expect a forgotten masterpiece. This performance – the first in modern times – boasts competent and well-matched soloists. Countertenor Kai Wessel as the eponymous hero gives a poised and musical account, though his voice could benefit from a weightier lower register. Male soprano Jörg Waschinski produces an ethereal, emasculated sound that is, perhaps, as close as we can come to that of the original soprano castrato who sang the part of Gideon’s enemy, Oreb. (Pity the man – he ends up losing his head, not to mention his unmentionables.) But most impressive is soprano Linda Perillo (Gideon’s wife, Sichemi) whose singing is by turns agile, sensuous and dramatic. Martin Haselböck draws some silvery string playing from the Vienna Academy, and if his shaping of the oratorio can lack momentum, at least he avoids the aggressively hard-driven style of some period performances. ---Kate Bolton,classical-music.com

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