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HANDEL 3 CDs
This production was made possible through donations to Opera in Concert’s recording venture.
Rinaldo
We are grateful for the generous contribution from: Barber • Enns Modolo • Hannigan • Newman
The Jackman Foundation • Sun Life Financial • Mr. Peter Hunt
Pirkko Shalden • Roger D. Moore • Henry Ingram Tomkins • Watson • Whalen
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Kevin Mallon
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And to all those who wish to remain anonymous…
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George Frideric
HANDEL
(1685-1759) Also available:
RINALDO
Opera in three acts (1711 version)
Libretto by Giacomo Rossi, based on a scenario by Aaron Hill,
after Torquato Tasso’s Gerusalemme liberata
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CD 1 78:47 Scena V
1 Overture (Largo - Allegro - Largo, Gigue) 5:33 0 Aria: Furie terribili (Armida)
Also available: Recitativo ed Accompagnato: Come a tempo
Atto primo giungesti, cara (Argante, Armida) 3:40
3 Recitativo: Signor, già dal tuo senno (Rinaldo, # Recitativo: Adorato mio sposo, vieni a bear
Goffredo, Almirena) 2:01 quest’alma (Almirena, Rinaldo)
Duetto: Scherzano sul tuo volto le grazie vezzosette
4 Aria: Combatti da forte (Almirena) 3:55 (Almirena, Rinaldo) 5:03
Scena IV Scena IX
8.554752
9 Recitativo: Infra dubbi di Marte resta sospeso il * Recitativo: Di speranza un bel raggio ritorni (Rinaldo)
cuore (Argante) Aria: Venti, turbini, prestate le vostre ali a questo piè!
Aria: Vieni, o cara, a consolarmi (Argante) 4:10 (Rinaldo) 4:41
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CD 2 52:15 Scena VI Violins: Julia Wedman (concert-mistress), Aisslinn Nosky, Cristina Zacharias, Genevieve Gilardeau, Paul
Zevenhuisen, Johanes Gerbauer (principal 2nd), Liz Johnston, Bethany Bergman, Catherine Emes
Atto secondo Recitativo: Perfida, un cor illustre ha ben forza
bastante (Rinaldo, Armida) 3:20 Violas: Angela Rudden, Max Mandel, Tony Rapoport, Tom Georgi, Marguerite Schabas
Scena I
0 Duetto: Fermati – No, crudel (Armida, Rinaldo) 2:06
Cellos: Katie Reitman (continuo), Felix Deak • Double bass: Curtis Scheschuk
1 Aria: Siam prossimi al porto (Eustazio) 5:33
Scena VII
Bassoon: Nadina Mackie Jackson • Contra bassoon: Fraser Jackson
Scene II
! Recitativo: Crudel, tu ch’involasti al mio core la
calma (Armida si cangia in Almirena, Rinaldo) Sopranino recorder: Alison Melville • Alto recorder: Kathryn Montoya, Colin Savage
2 Recitativo: A quel sasso bramato (Rinaldo,
Goffredo, Eustazio) Aria: Abbrugio, avvampo e fremo (Rinaldo) 4:33
Oboes: Stephen Bard, Kathryn Montoya • Trumpets: Norman Engel, Andras Molnar, David Wilms, Steven Marvin
Scene III Scena VIII
Harpsichord: Paul Jenkins • Theorbo: Lucas Harris • Timpani: Richard Moore • Percussion: Ed Reifel, Aisslinn Nosky
Recitativo: Per raccor d’Almirena i più dolci respiri @ Recitativo accompagnato: Dunque i lacci d’un
(Donna) 1:16 volto (Armida)
Aria: Ah! Crudel, il pianto mio, deh! Ti mova Kevin Mallon
3 Aria a due: Il vostro maggio de’ bei verdi anni (Armida) 6:51
(Sirene) 1:50 The Irish musician Kevin Mallon, now resident in Canada, is quickly developing a world-wide reputation. With an
Scena IX impressive background that includes conducting studies with John Eliot Gardiner, composition with Peter Maxwell
4 Recitativo: Qual incognita forza mi spinge (Rinaldo, Davies, training at Chetham’s School of Music and the Royal Northern College of Music in Manchester, and at
Goffredo, Eustazio, Donna) # Recitativo: Riprendiam d’Almirena il mentito Dartington College of Arts, he learnt his craft as a violinist with such orchestras as the Hallé and the BBC Philharmonic,
Aria: Il Tricerbero umiliato (Rinaldo) 3:16 sembiante (Armida) and later as concert-master with Le Concert Spirituel and Les Arts Florissants in Paris. With these groups he has recorded
extensively and toured the world. He has performed concerts all over Europe, including Vienna, London, Berlin and Paris,
5 Recitativo: Signor, strano ardimento! (Eustazio) Scena X with appearances in Russia, the Baltic States, China, Japan, New Zealand, the United States and Canada. Before moving
Aria: Mio cor, che mi sai dir? (Goffredo) 3:31 to Canada to take up positions with the University of Toronto and the Tafelmusik Baroque Orchestra, Kevin Mallon was
Recitativo: Adorata Almirena, ogni breve dimora active in both his native Ireland and throughout Europe. He was conductor of the Irish Baroque Orchestra as well as the
Scena IV (Argante, Armida) 1:59 Musical Director of the Harty Ensemble in Belfast. He also conducted numerous orchestras and opera companies in
Ireland, including the Ulster Orchestra, Castleward Opera and the National Chamber Choir. Kevin Mallon formed and
6 Recitativo: Armida dispietata! $ Aria: Vo’ far guerra, e vincer voglio (Armida) 6:27 became the Music Director of the Aradia Ensemble in 1996. This vocal and instrumental group has achieved
(Almirena, Argante) 2:25 extraordinary successes. All their recordings for Naxos have received international praise. The ensemble was featured in
2000 at the New Zealand International Chamber Music Festival, and in 2003 at the Musica nel Chiostro festival in
7 Aria: Lascia ch’io pianga mia cruda sorte Tuscany. Although Kevin Mallon specialises in music of the Baroque period, he is in demand to conduct a wider
(Almirena) 6:03 CD 3 48:44 repertoire. As part of his recording contract with Naxos, he is Music Director of the Toronto Camerata, a group made up
of some of Toronto’s best orchestral musicians, with whom he has already made nine recordings. In recent years he has
8 Recitativo: Ah! sul bel labbro Amore di possente Atto terzo also developed an association with the contemporary opera company Opera Anonymous, with which he has conducted
magia formò le note (Argante) Stravinsky’s The Rake’s Progress and the early nineteenth-century opera Lucas et Cécile by the Canadian Joseph
Aria: Basta che sol tu chieda (Argante) 3:05 Scena I Quesnel. He has also conducted Toronto’s Opera in Concert in a varied repertoire. Kevin Mallon’s recordings for Naxos
include works by Charpentier, Rameau, Boyce, Saint-Georges and Handel. Engagements as a guest conductor have taken
Scena V 1 Recitativo: Quivi par che rubelle la terra s’alzi
him to Finland, Sweden, Poland and the United States. He has recently taken up the position of Music Director of Opera
(Eustazio, Goffredo)
2005 in Cork, Ireland, conducting a series of operas as part of Cork’s tenure as European Capital of Culture. Also
9 Recitativo: Cingetemi d’alloro le trionfali chiome interested in Irish music, he is a member of the Toronto-based traditional group Dulaman.
(Armida)
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Jennifer Enns Modolo Rosamund, the first entirely sung English opera, a with later revisions and performances in the following
notable failure in 1707, withdrawn after three years. While Rinaldo won public success, there were
Jennifer Enns Modolo is a young mezzo-soprano who is making a name for herself in Canada and abroad. She has performances. France had, with Lully, found its own those who took exception to the inevitable lack of
sung with numerous groups in Ontario, including the Toronto Mendelssohn Choir, the Kitchener-Waterloo operatic tradition, and in Germany Italian opera verisimilitude. Addison, in particular, writing in The
Philharmonic Choir, the Kitchener-Waterloo Symphony, the Elora Festival Singers, the Toronto Classical Singers companies had found a place. In London Italian singers Spectator on 6th March, mocked the inclusion of real
and the Grand River Baroque Festival. Her repertoire ranges from Bach, Handel and Mozart to Beethoven and appeared with some success in concerts or in musical sparrows ‘to act the part of Singing Birds in a delightful
Respighi. As well, she has premièred and performed works of several Canadian composers including Bramwell interludes between the acts of plays and, amid the Grove’, with the likely consequences of such casting,
Tovey, Imant Raminsch and Michael Purves-Smith. On the opera stage she has sung the title rôle in Rossini’s La confusing commercial rivalry of the London theatres the description of Armida as an ‘Amazonian
Cenerentola with the Orford Arts Centre, and a country maiden in Mozart’s Le nozze di Figaro with Opera Ontario. and their supporters, the time seemed to have come at Enchantress’, the presence of a heterodox ‘Christian-
Other rôles include the Third Lady in Mozart’s The Magic Flute and Jennie Hildebrand in Weill’s Street Scene. last for Italian opera in its true form. Conjuror’, and ‘Nicolini exposed to a Tempest in Robes
There had been attempts to lure the composer of Ermin, and sailing in an open Boat upon a Sea of
Bononcini to England, but the first Italian opera Paste-Board’. Addison returned to the subject of opera
Sean Watson composer of significant reputation to work in London in later papers, finding more to praise in Lully’s French
was Handel, who reached the city towards the end of opera. Whatever Addison’s objections, as the
A graduate of the University of Toronto Opera School, the baritone Sean Watson has sung throughout Canada, 1710. His opera Rinaldo was based on a scenario by unsuccessful author of Rosamund, spectacle was an
Europe and the Middle East and has been a featured soloist on international television and radio broadcasts. After a Aaron Hill, the enthusiastic young director of the important part of Rinaldo, with the requisite
period spent in Europe, he returned to Canada to a burgeoning career that encompasses both opera and oratorio. Haymarket Theatre, whose ambition, as he declared in transformation scenes common to Italian opera of the
Engagements have included his début for Opera Ontario as Dr Bartolo in Il barbiere di Siviglia, to be followed by his Preface to the libretto of Rinaldo, had been to time and, indeed, to English semi-opera.
Don Giovanni. Other appearances have included performances with the Toronto Bach Consort, Kitchener-Waterloo establish ‘English opera more splendid than her Mother, For Rinaldo Handel borrowed extensively from his
Phiharmonic Choir, Kingston Symphony, Amadeus Choir of Greater Toronto, Chorus Niagara, Montreal’s St. the Italian’. Based on an episode from Tasso’s earlier compositions. Some of these are listed in the
Lawrence Choir, the Ottawa Choral Society, the Ottawa Bach Choir, Les Voix Baroques of Montréal, Le Grand Gerusalemme liberata, the Italian libretto, by Giacomo synopsis below. A fuller account of Handel’s
Choeur de Montréal, Choeur de la Montagne, Carmel Bach Festival and Masterworks Chorale of Washington. He Rossi, was published with an English translation by borrowings is given in Handel’s Operas 1704-1726 by
has also toured in Europe with the Ottawa Choral Society and was a Grand Prize winner for Les Jeunes Hill. Rossi himself regretted, in his own preface to the Winton Dean and John Merrill Knapp (Oxford, 1987),
Ambassadeurs Lyriques. libretto, that he had had to write at some speed, while where due acknowledgement is made to the work of Dr
Handel had seemingly accomplished his part in the John H. Roberts on this subject.
work in the space of a fortnight. He might have added
Barbara Hannigan that Handel made some use of words that he had already Synopsis
The Canadian soprano Barbara Hannigan received her Bachelor and Master of Music degrees from the University of set earlier and that these had to be incorporated into the
Toronto where she studied with Mary Morrison. Operatic rôles include Lucia in Britten’s The Rape of Lucretia, libretto. Much of the music, in fact, however revised or CD 1
Anne in Stravinsky’s The Rake’s Progress, Despina in Mozart’s Così fan tutte, the title rôles in Hasse’s La remodelled, was drawn from earlier compositions,
contadina and La fantesca, Bastienne in Mozart’s Bastien und Bastienne and Dalinda in Handel’s Ariodante. She written during Handel’s years in Italy. 1 Ouverture. The overture, taken from the 1708
has performed with the Berlin Philharmonic, the Cleveland Orchestra, the Finnish Radio Symphony, the Toronto Rinaldo opened at the Queen’s Theatre, Haymarket, cantata Arresta il passo (Aminta e Fillide), is in the
Symphony Orchestra, the Frankfurt Radio Symphony, the London Sinfonietta, and Holland’s Radio Philharmonic, on 24th February 1711. The cast included the highly French overture form, an introductory Largo in dotted
in works by Bach, Handel, Mozart, Ligeti, Dutilleux and Knussen. She has been featured at the Salzburg Festival, praised alto castrato Nicolò Grimaldi, known as rhythm leading to a fugal section, after which a brief
the BBC Proms, the Paris Festival de l’Automne, Berliner Festspiele, and the Holland Festival, and has worked with Nicolini, as Rinaldo, the contralto Francesca Vanini- Largo provides a link to the final Gigue.
conductors including Esa Pekka Salonen, Jukka Pekka Saraste, Kurt Masur, Ingo Metzmacher, Reinbert de Leeuw Boschi as Goffredo, the alto castrato Valentino Urbani,
and Peter Eötvös. known as Valentini, as Eustazio, the soprano Isabella Act I
Girardeau as Almirena, the soprano Elisabetta Pilotti-
Schiavonetti as Armida, the bass Giuseppe Maria Scene 1
Boschi as Argante, and the alto castrato Giuseppe
Cassani as the Christian magician. The opera was 2 The scene reveals Jerusalem under siege. The city
successful and had fifteen performances in the season, gate can be seen, from which soldiers emerge for battle.
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On one side is a great pavilion with a throne, upon Alighting from his carriage, he approaches Goffredo. Marion Newman
which Goffredo (Godfrey of Bouillon) is seated, His da capo aria Sibillar gli angui, lifted from Aci,
surrounded by his guards, with Rinaldo, Almirena and Galatea e Polifemo, with its snakes of Alecto and the The native Canadian mezzo-soprano Marion Newman has been described as a “jewel in Canada’s impressive
Eustazio. Goffredo tells Rinaldo that the Christian barking of Scylla, may seem dramatically inappropriate. performing arts crown”, having appeared in a number of operatic rôles, including Rosina in Il barbiere di Siviglia,
forces are near the end of their goal, with victory now in Margret in Wozzeck and Juno in The Tempest. International touring includes the Czech Republic and Germany in
sight. He expands on this in the da capo aria Sovra 8 After this inauspicious opening, Argante continues, Mozart’s Die Gärtnerin aus Liebe, Puccini’s Gianni Schicchi and Suor Angelica in Italy, as well as Carmen with
balze, from the cantata Solitudini care. seeking for a three-day truce, which Goffredo grants. Opera 2005 in Ireland. She has performed with many ensembles including the Victoria Symphony, Portland
His da capo aria No, no, che quest’alma scontenti non Baroque Orchestra, Symphony Nova Scotia, and the Elora Festival Singers. Her repertoire extends from the baroque
3 Rinaldo, in a recitative, praises the prowess of dà, using material from Almira and Agrippina, to contemporary music. In 2004 she traveled to Lithuania with the ERGO ensemble to perform at the Is Arti New
Goffredo, and expresses his desire to be united with expresses agreement. Music Festival. Marion Newman has been featured four times as soloist on CBC’s National Aboriginal
Goffredo’s daughter Almirena. Goffredo promises that Achievement Awards, and in the opening of the 2002 Royal Golden Jubilee Gala at Roy Thompson Hall, performing
she shall, in due course, be his, once Jerusalem is Scene 4 with the Toronto Symphony Orchestra before Her Majesty Queen Elizabeth II.
captured. Almirena adds her wishes that Rinaldo go
forth to battle, so that they may be together. 9 Alone, Argante will have recourse to his beloved
Armida, whom he summons in his aria Vieni, o cara, a Laura Whalen
4 In a da capo aria, drawn from Arresta il passo, consolarmi, based on an earlier Latin motet.
Almirena urges him to fight bravely. Laura Whalen has made her mark as a lyric soprano whose performances are notable for beauty of tone and musical
Scene 5 finesse. Chosen to create the title rôle in the world première of Estacio’s Filumena, she has been hailed in Spain,
5 In a short recitative Eustazio thinks these are wise Germany, Latin America and the United States. She has appeared at the Kennedy Center in D.C., at Canada’s
words, and Rinaldo muses on the power of the god of 0 The sorceress Armida appears in the air, in a chariot National Arts Centre, and at the Harris Center for Music and Dance in Chicago in such works as Carmina Burana,
love. His aria Ogni indugio, borrowed from the earlier drawn by two fire-breathing dragons, an episode that Beethoven’s Symphony No. 9 and Britten’s A Midsummer Night’s Dream. In the Canadian Opera Company’s Ring
opera Agrippina, suggests that any delay is painful for a again won witty disparagement from Steele in The Cycle, she was heard as the Waldvogel and Woglinde, and other rôles include Pamina in Die Zauberflöte, Mimì in
lover. Spectator. The very dramatic aria Furie terribili, has its La Bohème, Norina in Don Pasquale and Juliette in Roméo et Juliette. She also performs with the Toronto
predecessor in Agrippina. She descends for an Symphony, Chicago Opera Theatre, The Florida Orchestra, Washington Choral Arts, Vancouver Symphony,
Scene 2 accompanied recitative with Argante, in which she Rochester Philharmonic, Calgary Opera and Opera Ontario.
promises to distract Rinaldo from his warlike purposes.
6 A trumpet sounds and a herald comes from the city,
with two guards, approaching Goffredo. The herald ! In her da capo aria Molto voglio, molto spero, used in Kimberly Barber
brings a message from his king, who seeks a parley. Aci, Galatea e Polifemo and Agrippina, she asserts her
Goffredo assents and Eustazio perceives some reason of magic prowess. Career highlights of Canadian mezzo-soprano Kimberly Barber include the title rôle in Ariodante and Annio in La
state in this. The latter continues, in a da capo aria, Sulla clemenza di Tito for the Paris Opéra, the Composer in Ariadne auf Naxos for Lyric Opera of Chicago, Despina in
ruota di fortuna, taken from an earlier Latin motet, Scene 6 Così fan tutte for Seattle Opera, Nero in Agrippina for New York City Opera and Nicklausse/Muse in Les contes
suggesting the changes of fortune to which hope may be d’Hoffmann for the opening of the new opera house in Frankfurt. She has collaborated with conductors including
subject, as the wheel turns. @ The scene is now a pleasant grove, with fountains, Seiji Ozawa, Myung Whun Chung, André Previn, Yves Abel, Patrick Summers and Charles Dutoit. She has
avenues and the sound of birds, vividly depicted. appeared with Gerard Schwarz’s Mainly Mozart Festival in New York City, at Rome’s Accademia di Santa Cecilia,
Scene 3 Almirena wonders where her lover is, in her aria at the Wigmore Hall in London and Carnegie Hall in New York City, as well as with the Chicago, Toronto,
Augeletti che cantate. Minnesota, and Montréal Symphony Orchestras and the St Paul Chamber Orchestra. Recordings range from
7 Argante comes out of the city, riding in a carriage L’heure espagnole (Concepción) to the songs of Aaron J. Kernis and a disc of Handel and Hasse arias with
drawn by horses, although Steele, in The Spectator of # She is joined by Rinaldo, and in a recitative they sing Montreal’s baroque ensemble, Arion.
16th March, regretted the absence of the horses that his of their love, continuing their delight in the following
Opera-Book had promised him. Argante is followed by duet, Scherzano sul tuo volto le grazie vezzosette, from
a great number of guards on foot and mounted. the cantata Cor fedele.
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Scene 9 Scene 12 Scene 7 the sun are reflected. Near the shore a ship is at anchor,
and at its helm is a spirit in the form of a beautiful
! The instruments of the Christian army sound out and % Rinaldo, victorious, leads in Argante in chains. $ Armida appears and seizes Almirena, in spite of woman. Two Sirens are seen amid the waves. The act
the soldiers march solemnly past, some on foot, others Goffredo praises Rinaldo’s achievement. Rinaldo’s attempts. He draws his sword, but she turns it starts with a meditative da capo aria from Eustazio,
mounted, saluting Goffredo and Rinaldo as they pass. aside and a black cloud descends, full of terrible Siam prossimi al porto, for which Handel had recourse
Scene 13 monsters, with flames, smoke and cries, covering to the cantatas Cor fedele and Arresta il passo.
@ Rinaldo foresees the capture of Jerusalem. Goffredo Armida and Almirena and leaving in their place two
approves and leaves, while Rinaldo, in his martial Or la Eustazio joins them, with Almirena, leading Armida as Furies, who mock Rinaldo, before disappearing. Scene 2
tromba in suon festante tells of their coming triumph. a prisoner. Rinaldo is overjoyed to see Almirena again.
They embrace. Armida admits her defeat by a mightier % In his da capo aria Cara sposa, amante cara, 2 Rinaldo and Goffredo hurry in, seeking the magician
Scene 10 god, and Argante comments on the changes of fortune. recalling Caro figlio of Resurrezione, Rinaldo laments who may help them.
In repentance she breaks her magic wand, and happily the disappearance of his beloved Almirena.
# Argante enters with his army, which disposes itself in changes her religion, to be freed by Goffredo and Scene 3
battle order. embraced by her lover Argante, who follows her Scene 8
example. The woman in the boat invites Rinaldo to join her.
Scene 11 ^ Rinaldo stands transfixed, approached by Goffredo
^ A final chorus, taken from Il Trionfo del Tempo, and Eustazio, who seek the cause of his apparent 3 Rinaldo, Eustazio and Goffredo stand amazed, while
Goffredo enters with his men, ready for battle. affirms the expected happy ending. distress. Rinaldo explains what has happened, the Sirens sing and sport. In the aria Il vostro maggio a
continuing in the aria Cor ingrato, in an agitated central Siren seeks to lure Rinaldo away.
$ The battle takes place. The enemy is put to flight, Keith Anderson passage expressing his anger at what has transpired. In
when Rinaldo attacks from the flank. the following recitative he expresses his intention of 4 Rinaldo hesitates then decides to embark, but is held
saving his beloved. Goffredo is equally affected, but back by his companions. The Siren calls to him again,
Eustazio tells of a magician who may help them. and he seeks again to break away. In his da capo aria Il
Tricerbero umiliato he resolves to conquer Cerberus, as
& In his da capo aria Col valor, colla virtù, recalling the Hercules once did, and embarks. The woman suddenly
Conductor’s Note cantata Tra le fiamme, Eustazio encourages them with puts out to sea and they are soon out of sight, as the
hope of triumph. Sirens sink down into the sea.
This recording of Rinaldo was made after performances of the work in Toronto. As such, we tried to keep a sense of
the drama and movement of the live performances. Extensive use of percussion gives an impression of the Scene 9 5 Goffredo and Eustazio look on in confusion, with the
extravagant theatrical effects, such as thunder and lightning, of the early performances, although live birds were not former, in his da capo aria Mio cor, che mi sai dir?, at a
used for Act 1, Scene 6, as was the case in 1711. Handel made several versions of the opera, starting in 1711, with * Rinaldo is left alone, resolving to fight for his loss.
revisions between 1712 and 1717, before an extensive rewriting in 1731. Although we have used the original text of beloved. His da capo aria Venti, turbini, recalling the
1711, we have adopted Handel’s spirit of recasting and have allocated the original castrati rôles of Rinaldo and cantata La terra è liberata, summons the winds to his Scene 4
Eustazio to women and the Mago to a bass. Interestingly, the rôle of Goffredo, Captain General of the Christian aid.
Forces, was originally sung by a contralto, as on our recording. In recent times, there has developed a fashion for 6 The scene changes to a beautiful garden in the
adding exotic instruments to the continuo. The argument for this is that other instruments were available at the time, CD 2 enchanted palace of Armida. Almirena laments the
and it is conceivable that they could have been used. We have resisted this urge, with the hope that the expression of cruelty of Armida, urged by Argante, who has joined
the words, and the corresponding reaction of a “standard” team of harpsichord, cello and lute is enough. Act II her, not to weep, vowing his love for her.
Kevin Mallon Scene 1 7 Almirena expresses her sorrow in the moving aria
Lascia ch’io panga, heard earlier in Almira and Il
1 The scene presents a calm sea, in which the rays of Trionfo del Tempo.
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8 Argante urges his love for her, moved by her aria. In Scene 9 while other monsters block their way. To their 6 Rinaldo urges his companions to battle, and they
his da capo aria Basta che sol tu chieda, its source in confusion the mountain opens, with flames, smoke and leave, while Rinaldo, in his da capo aria È un incendio
Agrippina, he promises her all he can. # Armida resolves to take again the form of Almirena. great cries coming from within. Goffredo, Eustazio and fra due venti, a borrowing from Aci, Galatea e Polifemo
some of their men return to the Magician. and other sources, sings of the flames of love, fanned
Scene 5 Scene 10 too by the search for martial glory.
3 For Goffredo this is the mouth of Hell, but the
9 Their place is taken by Armida, calling for a laurel She is joined by Argante, who expresses his love for Magician provides them with magic wands, their means Scene 5
garland, now she has triumphed over Rinaldo. her, while she regards him with increasing disdain, and of gaining access. They climb the mountain again,
when he seeks to embrace her, she resumes her true watched by the Magician, who sings to encourage them. 7 Argante enters, followed by three generals. He urges
Scene 6 form, accusing him of treachery. He repeats his love for The monsters appear again, but take flight at the magic them to victory.
Almirena, now resolved to rely on his sword rather than wands. When they reach the summit they touch the
Two spirits lead Rinaldo in and he reproaches her, Armida’s magic. He rushes out in anger. gates of the castle with their wands. At this the walls and Scene 6
seeking the return of Almirena. He is Armida’s prisoner, the mountain disappear with a great noise and in their
but now she begins to feel love for him, a sentiment to $ In her vigorous da capo exit aria Vo’ far guerra, from place the sea, in turbulence, remains. Goffredo and Armida enters, reproaching Argante for his earlier
which she gradually gives way. Il Trionfo del Tempo and Agrippina, Armida declares Eustazio reach a rock, then are seen to descend. The treachery, but they are finally reconciled, resolved to
her intention of triumphing. Magician’s song of encouragement, Andate, o forti, fight. Martial instruments are heard and the army
0 Rinaldo makes to leave, but Armida stops him; he from the cantata Clori, ove sei, is followed by a short marches out of the city, parading before Argante and
will have no more, while Armida protests her love. CD 3 recitative, while he retires into his cave, the magic of the Armida, whom they salute.
mountain now defeated.
Scene 7 Act III 8 Argante will defeat the enemy in the wood, where
Scene 3 they stand. In a duet they celebrate their coming
! Armida is transformed by magic into Almirena, to Scene 1 triumph, Al trionfo del nostro furore, from the cantata
Rinaldo’s consternation, but as he seeks to embrace her, 4 In her garden Armida holds a dagger to the breast of Se pari, again in da capo form.
she resumes her true form, to his horror. She turns once 1 The scene is now a rugged mountain with waterfalls. Almirena, to kill her. Rinaldo tries to save her, drawing
again into Almirena and he makes to embrace her again, On the summit can be seen the enchanted castle of his sword, but suddenly spirits emerge from the earth to Scene 7
but stops. In his da capo aria Abbrugio, avvampo e Armida, guarded by various monsters. In the walls there protect Armida.
fremo, which has its predecessors in Almira, a Latin is a gate with columns of crystal and every kind of gem. 9 Goffredo, Rinaldo and Almirena express their
motet, La terra è liberata and elsewhere, Rinaldo At the foot of the mountain is a cave, where the Scene 4 astonishment at events. Almirena’s da capo aria Bel
expresses his determination and his fears, as he goes. Magician lives. Goffredo and Eustazio stand looking at piacere è godere fido amor, taken from Agrippina, tells
the mountain, wondering if this is the object of their They are joined by Goffredo and Eustazio, and Armida of the joy of love.
Scene 8 search. At the mouth of the cave Eustazio calls out to the calls on spirits to defend her. Goffredo and Eustazio
Magician. touch the magic garden with their wands and it suddenly Scene 8
@ Armida, alone, and now in her own form, laments disappears, leaving only a desert place, in the
Rinaldo’s cruel rejection of her in an accompanied Scene 2 background of which the city of Jerusalem can be seen. 0 They are joined by Eustazio, who brings news of the
recitative, calling the Furies to her aid. In her da capo In the walls there is a great gate, at the foot of which approach of the enemy. In his following da capo aria Di
aria Ah! Crudel, il pianto mio, deh!, used in the cantata The Magician comes out. He already knows the reason there is a road that winds into the distance. Goffredo, Sion nell’alta sede, from the cantata Clori, mia bella
Un sospir and in Agrippina, she laments Rinaldo’s for their presence, and tells them of Armida’s prisoners Eustazio and Rinaldo embrace, while Armida holds Clori and used in the Latin motet Saeviat tellus, he sings
cruelty, while, in a central section, expressing more in her castle. Goffredo and Eustazio make to climb the Almirena, threatening to kill her. Taking his sword, of the courage and virtue that will be shown that day.
violent feelings of revenge. hill, with their men, but the Magician calls them back. Rinaldo strikes at Armida, who disappears.
2 As they approach the summit, they are met by terrible 5 Goffredo, in his da capo aria Sorge nel petto certo
monsters, and some of the soldiers turn back in terror, diletto, welcomes the peace of their victory.
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8 Argante urges his love for her, moved by her aria. In Scene 9 while other monsters block their way. To their 6 Rinaldo urges his companions to battle, and they
his da capo aria Basta che sol tu chieda, its source in confusion the mountain opens, with flames, smoke and leave, while Rinaldo, in his da capo aria È un incendio
Agrippina, he promises her all he can. # Armida resolves to take again the form of Almirena. great cries coming from within. Goffredo, Eustazio and fra due venti, a borrowing from Aci, Galatea e Polifemo
some of their men return to the Magician. and other sources, sings of the flames of love, fanned
Scene 5 Scene 10 too by the search for martial glory.
3 For Goffredo this is the mouth of Hell, but the
9 Their place is taken by Armida, calling for a laurel She is joined by Argante, who expresses his love for Magician provides them with magic wands, their means Scene 5
garland, now she has triumphed over Rinaldo. her, while she regards him with increasing disdain, and of gaining access. They climb the mountain again,
when he seeks to embrace her, she resumes her true watched by the Magician, who sings to encourage them. 7 Argante enters, followed by three generals. He urges
Scene 6 form, accusing him of treachery. He repeats his love for The monsters appear again, but take flight at the magic them to victory.
Almirena, now resolved to rely on his sword rather than wands. When they reach the summit they touch the
Two spirits lead Rinaldo in and he reproaches her, Armida’s magic. He rushes out in anger. gates of the castle with their wands. At this the walls and Scene 6
seeking the return of Almirena. He is Armida’s prisoner, the mountain disappear with a great noise and in their
but now she begins to feel love for him, a sentiment to $ In her vigorous da capo exit aria Vo’ far guerra, from place the sea, in turbulence, remains. Goffredo and Armida enters, reproaching Argante for his earlier
which she gradually gives way. Il Trionfo del Tempo and Agrippina, Armida declares Eustazio reach a rock, then are seen to descend. The treachery, but they are finally reconciled, resolved to
her intention of triumphing. Magician’s song of encouragement, Andate, o forti, fight. Martial instruments are heard and the army
0 Rinaldo makes to leave, but Armida stops him; he from the cantata Clori, ove sei, is followed by a short marches out of the city, parading before Argante and
will have no more, while Armida protests her love. CD 3 recitative, while he retires into his cave, the magic of the Armida, whom they salute.
mountain now defeated.
Scene 7 Act III 8 Argante will defeat the enemy in the wood, where
Scene 3 they stand. In a duet they celebrate their coming
! Armida is transformed by magic into Almirena, to Scene 1 triumph, Al trionfo del nostro furore, from the cantata
Rinaldo’s consternation, but as he seeks to embrace her, 4 In her garden Armida holds a dagger to the breast of Se pari, again in da capo form.
she resumes her true form, to his horror. She turns once 1 The scene is now a rugged mountain with waterfalls. Almirena, to kill her. Rinaldo tries to save her, drawing
again into Almirena and he makes to embrace her again, On the summit can be seen the enchanted castle of his sword, but suddenly spirits emerge from the earth to Scene 7
but stops. In his da capo aria Abbrugio, avvampo e Armida, guarded by various monsters. In the walls there protect Armida.
fremo, which has its predecessors in Almira, a Latin is a gate with columns of crystal and every kind of gem. 9 Goffredo, Rinaldo and Almirena express their
motet, La terra è liberata and elsewhere, Rinaldo At the foot of the mountain is a cave, where the Scene 4 astonishment at events. Almirena’s da capo aria Bel
expresses his determination and his fears, as he goes. Magician lives. Goffredo and Eustazio stand looking at piacere è godere fido amor, taken from Agrippina, tells
the mountain, wondering if this is the object of their They are joined by Goffredo and Eustazio, and Armida of the joy of love.
Scene 8 search. At the mouth of the cave Eustazio calls out to the calls on spirits to defend her. Goffredo and Eustazio
Magician. touch the magic garden with their wands and it suddenly Scene 8
@ Armida, alone, and now in her own form, laments disappears, leaving only a desert place, in the
Rinaldo’s cruel rejection of her in an accompanied Scene 2 background of which the city of Jerusalem can be seen. 0 They are joined by Eustazio, who brings news of the
recitative, calling the Furies to her aid. In her da capo In the walls there is a great gate, at the foot of which approach of the enemy. In his following da capo aria Di
aria Ah! Crudel, il pianto mio, deh!, used in the cantata The Magician comes out. He already knows the reason there is a road that winds into the distance. Goffredo, Sion nell’alta sede, from the cantata Clori, mia bella
Un sospir and in Agrippina, she laments Rinaldo’s for their presence, and tells them of Armida’s prisoners Eustazio and Rinaldo embrace, while Armida holds Clori and used in the Latin motet Saeviat tellus, he sings
cruelty, while, in a central section, expressing more in her castle. Goffredo and Eustazio make to climb the Almirena, threatening to kill her. Taking his sword, of the courage and virtue that will be shown that day.
violent feelings of revenge. hill, with their men, but the Magician calls them back. Rinaldo strikes at Armida, who disappears.
2 As they approach the summit, they are met by terrible 5 Goffredo, in his da capo aria Sorge nel petto certo
monsters, and some of the soldiers turn back in terror, diletto, welcomes the peace of their victory.
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Scene 9 Scene 12 Scene 7 the sun are reflected. Near the shore a ship is at anchor,
and at its helm is a spirit in the form of a beautiful
! The instruments of the Christian army sound out and % Rinaldo, victorious, leads in Argante in chains. $ Armida appears and seizes Almirena, in spite of woman. Two Sirens are seen amid the waves. The act
the soldiers march solemnly past, some on foot, others Goffredo praises Rinaldo’s achievement. Rinaldo’s attempts. He draws his sword, but she turns it starts with a meditative da capo aria from Eustazio,
mounted, saluting Goffredo and Rinaldo as they pass. aside and a black cloud descends, full of terrible Siam prossimi al porto, for which Handel had recourse
Scene 13 monsters, with flames, smoke and cries, covering to the cantatas Cor fedele and Arresta il passo.
@ Rinaldo foresees the capture of Jerusalem. Goffredo Armida and Almirena and leaving in their place two
approves and leaves, while Rinaldo, in his martial Or la Eustazio joins them, with Almirena, leading Armida as Furies, who mock Rinaldo, before disappearing. Scene 2
tromba in suon festante tells of their coming triumph. a prisoner. Rinaldo is overjoyed to see Almirena again.
They embrace. Armida admits her defeat by a mightier % In his da capo aria Cara sposa, amante cara, 2 Rinaldo and Goffredo hurry in, seeking the magician
Scene 10 god, and Argante comments on the changes of fortune. recalling Caro figlio of Resurrezione, Rinaldo laments who may help them.
In repentance she breaks her magic wand, and happily the disappearance of his beloved Almirena.
# Argante enters with his army, which disposes itself in changes her religion, to be freed by Goffredo and Scene 3
battle order. embraced by her lover Argante, who follows her Scene 8
example. The woman in the boat invites Rinaldo to join her.
Scene 11 ^ Rinaldo stands transfixed, approached by Goffredo
^ A final chorus, taken from Il Trionfo del Tempo, and Eustazio, who seek the cause of his apparent 3 Rinaldo, Eustazio and Goffredo stand amazed, while
Goffredo enters with his men, ready for battle. affirms the expected happy ending. distress. Rinaldo explains what has happened, the Sirens sing and sport. In the aria Il vostro maggio a
continuing in the aria Cor ingrato, in an agitated central Siren seeks to lure Rinaldo away.
$ The battle takes place. The enemy is put to flight, Keith Anderson passage expressing his anger at what has transpired. In
when Rinaldo attacks from the flank. the following recitative he expresses his intention of 4 Rinaldo hesitates then decides to embark, but is held
saving his beloved. Goffredo is equally affected, but back by his companions. The Siren calls to him again,
Eustazio tells of a magician who may help them. and he seeks again to break away. In his da capo aria Il
Tricerbero umiliato he resolves to conquer Cerberus, as
& In his da capo aria Col valor, colla virtù, recalling the Hercules once did, and embarks. The woman suddenly
Conductor’s Note cantata Tra le fiamme, Eustazio encourages them with puts out to sea and they are soon out of sight, as the
hope of triumph. Sirens sink down into the sea.
This recording of Rinaldo was made after performances of the work in Toronto. As such, we tried to keep a sense of
the drama and movement of the live performances. Extensive use of percussion gives an impression of the Scene 9 5 Goffredo and Eustazio look on in confusion, with the
extravagant theatrical effects, such as thunder and lightning, of the early performances, although live birds were not former, in his da capo aria Mio cor, che mi sai dir?, at a
used for Act 1, Scene 6, as was the case in 1711. Handel made several versions of the opera, starting in 1711, with * Rinaldo is left alone, resolving to fight for his loss.
revisions between 1712 and 1717, before an extensive rewriting in 1731. Although we have used the original text of beloved. His da capo aria Venti, turbini, recalling the
1711, we have adopted Handel’s spirit of recasting and have allocated the original castrati rôles of Rinaldo and cantata La terra è liberata, summons the winds to his Scene 4
Eustazio to women and the Mago to a bass. Interestingly, the rôle of Goffredo, Captain General of the Christian aid.
Forces, was originally sung by a contralto, as on our recording. In recent times, there has developed a fashion for 6 The scene changes to a beautiful garden in the
adding exotic instruments to the continuo. The argument for this is that other instruments were available at the time, CD 2 enchanted palace of Armida. Almirena laments the
and it is conceivable that they could have been used. We have resisted this urge, with the hope that the expression of cruelty of Armida, urged by Argante, who has joined
the words, and the corresponding reaction of a “standard” team of harpsichord, cello and lute is enough. Act II her, not to weep, vowing his love for her.
Kevin Mallon Scene 1 7 Almirena expresses her sorrow in the moving aria
Lascia ch’io panga, heard earlier in Almira and Il
1 The scene presents a calm sea, in which the rays of Trionfo del Tempo.
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On one side is a great pavilion with a throne, upon Alighting from his carriage, he approaches Goffredo. Marion Newman
which Goffredo (Godfrey of Bouillon) is seated, His da capo aria Sibillar gli angui, lifted from Aci,
surrounded by his guards, with Rinaldo, Almirena and Galatea e Polifemo, with its snakes of Alecto and the The native Canadian mezzo-soprano Marion Newman has been described as a “jewel in Canada’s impressive
Eustazio. Goffredo tells Rinaldo that the Christian barking of Scylla, may seem dramatically inappropriate. performing arts crown”, having appeared in a number of operatic rôles, including Rosina in Il barbiere di Siviglia,
forces are near the end of their goal, with victory now in Margret in Wozzeck and Juno in The Tempest. International touring includes the Czech Republic and Germany in
sight. He expands on this in the da capo aria Sovra 8 After this inauspicious opening, Argante continues, Mozart’s Die Gärtnerin aus Liebe, Puccini’s Gianni Schicchi and Suor Angelica in Italy, as well as Carmen with
balze, from the cantata Solitudini care. seeking for a three-day truce, which Goffredo grants. Opera 2005 in Ireland. She has performed with many ensembles including the Victoria Symphony, Portland
His da capo aria No, no, che quest’alma scontenti non Baroque Orchestra, Symphony Nova Scotia, and the Elora Festival Singers. Her repertoire extends from the baroque
3 Rinaldo, in a recitative, praises the prowess of dà, using material from Almira and Agrippina, to contemporary music. In 2004 she traveled to Lithuania with the ERGO ensemble to perform at the Is Arti New
Goffredo, and expresses his desire to be united with expresses agreement. Music Festival. Marion Newman has been featured four times as soloist on CBC’s National Aboriginal
Goffredo’s daughter Almirena. Goffredo promises that Achievement Awards, and in the opening of the 2002 Royal Golden Jubilee Gala at Roy Thompson Hall, performing
she shall, in due course, be his, once Jerusalem is Scene 4 with the Toronto Symphony Orchestra before Her Majesty Queen Elizabeth II.
captured. Almirena adds her wishes that Rinaldo go
forth to battle, so that they may be together. 9 Alone, Argante will have recourse to his beloved
Armida, whom he summons in his aria Vieni, o cara, a Laura Whalen
4 In a da capo aria, drawn from Arresta il passo, consolarmi, based on an earlier Latin motet.
Almirena urges him to fight bravely. Laura Whalen has made her mark as a lyric soprano whose performances are notable for beauty of tone and musical
Scene 5 finesse. Chosen to create the title rôle in the world première of Estacio’s Filumena, she has been hailed in Spain,
5 In a short recitative Eustazio thinks these are wise Germany, Latin America and the United States. She has appeared at the Kennedy Center in D.C., at Canada’s
words, and Rinaldo muses on the power of the god of 0 The sorceress Armida appears in the air, in a chariot National Arts Centre, and at the Harris Center for Music and Dance in Chicago in such works as Carmina Burana,
love. His aria Ogni indugio, borrowed from the earlier drawn by two fire-breathing dragons, an episode that Beethoven’s Symphony No. 9 and Britten’s A Midsummer Night’s Dream. In the Canadian Opera Company’s Ring
opera Agrippina, suggests that any delay is painful for a again won witty disparagement from Steele in The Cycle, she was heard as the Waldvogel and Woglinde, and other rôles include Pamina in Die Zauberflöte, Mimì in
lover. Spectator. The very dramatic aria Furie terribili, has its La Bohème, Norina in Don Pasquale and Juliette in Roméo et Juliette. She also performs with the Toronto
predecessor in Agrippina. She descends for an Symphony, Chicago Opera Theatre, The Florida Orchestra, Washington Choral Arts, Vancouver Symphony,
Scene 2 accompanied recitative with Argante, in which she Rochester Philharmonic, Calgary Opera and Opera Ontario.
promises to distract Rinaldo from his warlike purposes.
6 A trumpet sounds and a herald comes from the city,
with two guards, approaching Goffredo. The herald ! In her da capo aria Molto voglio, molto spero, used in Kimberly Barber
brings a message from his king, who seeks a parley. Aci, Galatea e Polifemo and Agrippina, she asserts her
Goffredo assents and Eustazio perceives some reason of magic prowess. Career highlights of Canadian mezzo-soprano Kimberly Barber include the title rôle in Ariodante and Annio in La
state in this. The latter continues, in a da capo aria, Sulla clemenza di Tito for the Paris Opéra, the Composer in Ariadne auf Naxos for Lyric Opera of Chicago, Despina in
ruota di fortuna, taken from an earlier Latin motet, Scene 6 Così fan tutte for Seattle Opera, Nero in Agrippina for New York City Opera and Nicklausse/Muse in Les contes
suggesting the changes of fortune to which hope may be d’Hoffmann for the opening of the new opera house in Frankfurt. She has collaborated with conductors including
subject, as the wheel turns. @ The scene is now a pleasant grove, with fountains, Seiji Ozawa, Myung Whun Chung, André Previn, Yves Abel, Patrick Summers and Charles Dutoit. She has
avenues and the sound of birds, vividly depicted. appeared with Gerard Schwarz’s Mainly Mozart Festival in New York City, at Rome’s Accademia di Santa Cecilia,
Scene 3 Almirena wonders where her lover is, in her aria at the Wigmore Hall in London and Carnegie Hall in New York City, as well as with the Chicago, Toronto,
Augeletti che cantate. Minnesota, and Montréal Symphony Orchestras and the St Paul Chamber Orchestra. Recordings range from
7 Argante comes out of the city, riding in a carriage L’heure espagnole (Concepción) to the songs of Aaron J. Kernis and a disc of Handel and Hasse arias with
drawn by horses, although Steele, in The Spectator of # She is joined by Rinaldo, and in a recitative they sing Montreal’s baroque ensemble, Arion.
16th March, regretted the absence of the horses that his of their love, continuing their delight in the following
Opera-Book had promised him. Argante is followed by duet, Scherzano sul tuo volto le grazie vezzosette, from
a great number of guards on foot and mounted. the cantata Cor fedele.
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Jennifer Enns Modolo Rosamund, the first entirely sung English opera, a with later revisions and performances in the following
notable failure in 1707, withdrawn after three years. While Rinaldo won public success, there were
Jennifer Enns Modolo is a young mezzo-soprano who is making a name for herself in Canada and abroad. She has performances. France had, with Lully, found its own those who took exception to the inevitable lack of
sung with numerous groups in Ontario, including the Toronto Mendelssohn Choir, the Kitchener-Waterloo operatic tradition, and in Germany Italian opera verisimilitude. Addison, in particular, writing in The
Philharmonic Choir, the Kitchener-Waterloo Symphony, the Elora Festival Singers, the Toronto Classical Singers companies had found a place. In London Italian singers Spectator on 6th March, mocked the inclusion of real
and the Grand River Baroque Festival. Her repertoire ranges from Bach, Handel and Mozart to Beethoven and appeared with some success in concerts or in musical sparrows ‘to act the part of Singing Birds in a delightful
Respighi. As well, she has premièred and performed works of several Canadian composers including Bramwell interludes between the acts of plays and, amid the Grove’, with the likely consequences of such casting,
Tovey, Imant Raminsch and Michael Purves-Smith. On the opera stage she has sung the title rôle in Rossini’s La confusing commercial rivalry of the London theatres the description of Armida as an ‘Amazonian
Cenerentola with the Orford Arts Centre, and a country maiden in Mozart’s Le nozze di Figaro with Opera Ontario. and their supporters, the time seemed to have come at Enchantress’, the presence of a heterodox ‘Christian-
Other rôles include the Third Lady in Mozart’s The Magic Flute and Jennie Hildebrand in Weill’s Street Scene. last for Italian opera in its true form. Conjuror’, and ‘Nicolini exposed to a Tempest in Robes
There had been attempts to lure the composer of Ermin, and sailing in an open Boat upon a Sea of
Bononcini to England, but the first Italian opera Paste-Board’. Addison returned to the subject of opera
Sean Watson composer of significant reputation to work in London in later papers, finding more to praise in Lully’s French
was Handel, who reached the city towards the end of opera. Whatever Addison’s objections, as the
A graduate of the University of Toronto Opera School, the baritone Sean Watson has sung throughout Canada, 1710. His opera Rinaldo was based on a scenario by unsuccessful author of Rosamund, spectacle was an
Europe and the Middle East and has been a featured soloist on international television and radio broadcasts. After a Aaron Hill, the enthusiastic young director of the important part of Rinaldo, with the requisite
period spent in Europe, he returned to Canada to a burgeoning career that encompasses both opera and oratorio. Haymarket Theatre, whose ambition, as he declared in transformation scenes common to Italian opera of the
Engagements have included his début for Opera Ontario as Dr Bartolo in Il barbiere di Siviglia, to be followed by his Preface to the libretto of Rinaldo, had been to time and, indeed, to English semi-opera.
Don Giovanni. Other appearances have included performances with the Toronto Bach Consort, Kitchener-Waterloo establish ‘English opera more splendid than her Mother, For Rinaldo Handel borrowed extensively from his
Phiharmonic Choir, Kingston Symphony, Amadeus Choir of Greater Toronto, Chorus Niagara, Montreal’s St. the Italian’. Based on an episode from Tasso’s earlier compositions. Some of these are listed in the
Lawrence Choir, the Ottawa Choral Society, the Ottawa Bach Choir, Les Voix Baroques of Montréal, Le Grand Gerusalemme liberata, the Italian libretto, by Giacomo synopsis below. A fuller account of Handel’s
Choeur de Montréal, Choeur de la Montagne, Carmel Bach Festival and Masterworks Chorale of Washington. He Rossi, was published with an English translation by borrowings is given in Handel’s Operas 1704-1726 by
has also toured in Europe with the Ottawa Choral Society and was a Grand Prize winner for Les Jeunes Hill. Rossi himself regretted, in his own preface to the Winton Dean and John Merrill Knapp (Oxford, 1987),
Ambassadeurs Lyriques. libretto, that he had had to write at some speed, while where due acknowledgement is made to the work of Dr
Handel had seemingly accomplished his part in the John H. Roberts on this subject.
work in the space of a fortnight. He might have added
Barbara Hannigan that Handel made some use of words that he had already Synopsis
The Canadian soprano Barbara Hannigan received her Bachelor and Master of Music degrees from the University of set earlier and that these had to be incorporated into the
Toronto where she studied with Mary Morrison. Operatic rôles include Lucia in Britten’s The Rape of Lucretia, libretto. Much of the music, in fact, however revised or CD 1
Anne in Stravinsky’s The Rake’s Progress, Despina in Mozart’s Così fan tutte, the title rôles in Hasse’s La remodelled, was drawn from earlier compositions,
contadina and La fantesca, Bastienne in Mozart’s Bastien und Bastienne and Dalinda in Handel’s Ariodante. She written during Handel’s years in Italy. 1 Ouverture. The overture, taken from the 1708
has performed with the Berlin Philharmonic, the Cleveland Orchestra, the Finnish Radio Symphony, the Toronto Rinaldo opened at the Queen’s Theatre, Haymarket, cantata Arresta il passo (Aminta e Fillide), is in the
Symphony Orchestra, the Frankfurt Radio Symphony, the London Sinfonietta, and Holland’s Radio Philharmonic, on 24th February 1711. The cast included the highly French overture form, an introductory Largo in dotted
in works by Bach, Handel, Mozart, Ligeti, Dutilleux and Knussen. She has been featured at the Salzburg Festival, praised alto castrato Nicolò Grimaldi, known as rhythm leading to a fugal section, after which a brief
the BBC Proms, the Paris Festival de l’Automne, Berliner Festspiele, and the Holland Festival, and has worked with Nicolini, as Rinaldo, the contralto Francesca Vanini- Largo provides a link to the final Gigue.
conductors including Esa Pekka Salonen, Jukka Pekka Saraste, Kurt Masur, Ingo Metzmacher, Reinbert de Leeuw Boschi as Goffredo, the alto castrato Valentino Urbani,
and Peter Eötvös. known as Valentini, as Eustazio, the soprano Isabella Act I
Girardeau as Almirena, the soprano Elisabetta Pilotti-
Schiavonetti as Armida, the bass Giuseppe Maria Scene 1
Boschi as Argante, and the alto castrato Giuseppe
Cassani as the Christian magician. The opera was 2 The scene reveals Jerusalem under siege. The city
successful and had fifteen performances in the season, gate can be seen, from which soldiers emerge for battle.
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CD 2 52:15 Scena VI Violins: Julia Wedman (concert-mistress), Aisslinn Nosky, Cristina Zacharias, Genevieve Gilardeau, Paul
Zevenhuisen, Johanes Gerbauer (principal 2nd), Liz Johnston, Bethany Bergman, Catherine Emes
Atto secondo Recitativo: Perfida, un cor illustre ha ben forza
bastante (Rinaldo, Armida) 3:20 Violas: Angela Rudden, Max Mandel, Tony Rapoport, Tom Georgi, Marguerite Schabas
Scena I
0 Duetto: Fermati – No, crudel (Armida, Rinaldo) 2:06
Cellos: Katie Reitman (continuo), Felix Deak • Double bass: Curtis Scheschuk
1 Aria: Siam prossimi al porto (Eustazio) 5:33
Scena VII
Bassoon: Nadina Mackie Jackson • Contra bassoon: Fraser Jackson
Scene II
! Recitativo: Crudel, tu ch’involasti al mio core la
calma (Armida si cangia in Almirena, Rinaldo) Sopranino recorder: Alison Melville • Alto recorder: Kathryn Montoya, Colin Savage
2 Recitativo: A quel sasso bramato (Rinaldo,
Goffredo, Eustazio) Aria: Abbrugio, avvampo e fremo (Rinaldo) 4:33
Oboes: Stephen Bard, Kathryn Montoya • Trumpets: Norman Engel, Andras Molnar, David Wilms, Steven Marvin
Scene III Scena VIII
Harpsichord: Paul Jenkins • Theorbo: Lucas Harris • Timpani: Richard Moore • Percussion: Ed Reifel, Aisslinn Nosky
Recitativo: Per raccor d’Almirena i più dolci respiri @ Recitativo accompagnato: Dunque i lacci d’un
(Donna) 1:16 volto (Armida)
Aria: Ah! Crudel, il pianto mio, deh! Ti mova Kevin Mallon
3 Aria a due: Il vostro maggio de’ bei verdi anni (Armida) 6:51
(Sirene) 1:50 The Irish musician Kevin Mallon, now resident in Canada, is quickly developing a world-wide reputation. With an
Scena IX impressive background that includes conducting studies with John Eliot Gardiner, composition with Peter Maxwell
4 Recitativo: Qual incognita forza mi spinge (Rinaldo, Davies, training at Chetham’s School of Music and the Royal Northern College of Music in Manchester, and at
Goffredo, Eustazio, Donna) # Recitativo: Riprendiam d’Almirena il mentito Dartington College of Arts, he learnt his craft as a violinist with such orchestras as the Hallé and the BBC Philharmonic,
Aria: Il Tricerbero umiliato (Rinaldo) 3:16 sembiante (Armida) and later as concert-master with Le Concert Spirituel and Les Arts Florissants in Paris. With these groups he has recorded
extensively and toured the world. He has performed concerts all over Europe, including Vienna, London, Berlin and Paris,
5 Recitativo: Signor, strano ardimento! (Eustazio) Scena X with appearances in Russia, the Baltic States, China, Japan, New Zealand, the United States and Canada. Before moving
Aria: Mio cor, che mi sai dir? (Goffredo) 3:31 to Canada to take up positions with the University of Toronto and the Tafelmusik Baroque Orchestra, Kevin Mallon was
Recitativo: Adorata Almirena, ogni breve dimora active in both his native Ireland and throughout Europe. He was conductor of the Irish Baroque Orchestra as well as the
Scena IV (Argante, Armida) 1:59 Musical Director of the Harty Ensemble in Belfast. He also conducted numerous orchestras and opera companies in
Ireland, including the Ulster Orchestra, Castleward Opera and the National Chamber Choir. Kevin Mallon formed and
6 Recitativo: Armida dispietata! $ Aria: Vo’ far guerra, e vincer voglio (Armida) 6:27 became the Music Director of the Aradia Ensemble in 1996. This vocal and instrumental group has achieved
(Almirena, Argante) 2:25 extraordinary successes. All their recordings for Naxos have received international praise. The ensemble was featured in
2000 at the New Zealand International Chamber Music Festival, and in 2003 at the Musica nel Chiostro festival in
7 Aria: Lascia ch’io pianga mia cruda sorte Tuscany. Although Kevin Mallon specialises in music of the Baroque period, he is in demand to conduct a wider
(Almirena) 6:03 CD 3 48:44 repertoire. As part of his recording contract with Naxos, he is Music Director of the Toronto Camerata, a group made up
of some of Toronto’s best orchestral musicians, with whom he has already made nine recordings. In recent years he has
8 Recitativo: Ah! sul bel labbro Amore di possente Atto terzo also developed an association with the contemporary opera company Opera Anonymous, with which he has conducted
magia formò le note (Argante) Stravinsky’s The Rake’s Progress and the early nineteenth-century opera Lucas et Cécile by the Canadian Joseph
Aria: Basta che sol tu chieda (Argante) 3:05 Scena I Quesnel. He has also conducted Toronto’s Opera in Concert in a varied repertoire. Kevin Mallon’s recordings for Naxos
include works by Charpentier, Rameau, Boyce, Saint-Georges and Handel. Engagements as a guest conductor have taken
Scena V 1 Recitativo: Quivi par che rubelle la terra s’alzi
him to Finland, Sweden, Poland and the United States. He has recently taken up the position of Music Director of Opera
(Eustazio, Goffredo)
2005 in Cork, Ireland, conducting a series of operas as part of Cork’s tenure as European Capital of Culture. Also
9 Recitativo: Cingetemi d’alloro le trionfali chiome interested in Irish music, he is a member of the Toronto-based traditional group Dulaman.
(Armida)
8.660165-67 4 17 8.660165-67
660165-67 bk Rinaldo US 12/12/05 11:24 AM Page 18
CD 1 78:47 Scena V
1 Overture (Largo - Allegro - Largo, Gigue) 5:33 0 Aria: Furie terribili (Armida)
Also available: Recitativo ed Accompagnato: Come a tempo
Atto primo giungesti, cara (Argante, Armida) 3:40
3 Recitativo: Signor, già dal tuo senno (Rinaldo, # Recitativo: Adorato mio sposo, vieni a bear
Goffredo, Almirena) 2:01 quest’alma (Almirena, Rinaldo)
Duetto: Scherzano sul tuo volto le grazie vezzosette
4 Aria: Combatti da forte (Almirena) 3:55 (Almirena, Rinaldo) 5:03
Scena IV Scena IX
8.554752
9 Recitativo: Infra dubbi di Marte resta sospeso il * Recitativo: Di speranza un bel raggio ritorni (Rinaldo)
cuore (Argante) Aria: Venti, turbini, prestate le vostre ali a questo piè!
Aria: Vieni, o cara, a consolarmi (Argante) 4:10 (Rinaldo) 4:41
8.660165-67 18 3 8.660165-67
660165-67 bk Rinaldo US 12/12/05 11:24 AM Page 2
George Frideric
HANDEL
(1685-1759) Also available:
RINALDO
Opera in three acts (1711 version)
Libretto by Giacomo Rossi, based on a scenario by Aaron Hill,
after Torquato Tasso’s Gerusalemme liberata
8.660165-67 2 19 8.660165-67
660165-67 bk Rinaldo US 12/12/05 11:24 AM Page 20
HANDEL 3 CDs
This production was made possible through donations to Opera in Concert’s recording venture.
Rinaldo
We are grateful for the generous contribution from: Barber • Enns Modolo • Hannigan • Newman
The Jackman Foundation • Sun Life Financial • Mr. Peter Hunt
Pirkko Shalden • Roger D. Moore • Henry Ingram Tomkins • Watson • Whalen
OIC Special Patrons: Gordon David Baird & Maia MacNiven, Charles & Pleasance Crawford, Stuart Hamilton,
Malcolm & Helen Inglis, Stephen W. Ireland & Sally Holton, Anne Moore, Barbara Moran, Iain Scott, Guillermo Opera In Concert • Aradia Ensemble
Silva-Marin, Ferne & Stuart Winick.
OIC Patrons Circle Supporters: Joy Alexander, Rick Archbold, Frederick H. Armstrong, Elizabeth
Aszkanazy, John Beckwith, Margo & Klaus Bindhardt, Mary Britnell, Dr. Iivi Campbell, Betty Carlyle, Barry
Kevin Mallon
Chapman, Geoffrey & Biligi Chapman, Lynn & Samuel Copeland, Patricia & Norman Curtis, George Dalton,
Terry Davies & Anthony Chan, Mavis Davison, Steven Donohoe, Richard & Sally Earls, Frances Eastman,
Elizabeth & David Erskine, Dr. Peter G. Forbath, Arthur M. & Donna E. Fox, Jerry & Thora R. Gerow, Vincent &
Kathleen Goring, Anna L. Guthrie, Dr. E. Jenny L. Heathcote, Dr. Eric Hood, Linda & Michael Hutcheon, Nick
Imming, Robert Jefferies, Kazimierz Karwowski, Arline L. Kettle, Gerald P. King, Carol Kirstein, Robert A.
Lane, Marie Day Laufer, Jim Laughlin, John B. Lawson, Dr. John Lee & Mary McGee, Lawrence Lyons, Anne
MacKay, Elsa Marziali, Natalia Mayer, Mary McClymont, David McEachren, Helen & Donald McGillivray, Dr.
Paul McIntyre & Mrs. Phyllis McIntyre, Kathleen McMorrow, Sylvia M. McPhee, Janina Milisiewicz, J. A.
Milochik, James W. Moses & Ramon E. Masakayan, James & Charlotte Norcop, Margaret G. Norman, Theodore
Olson, Douglas L. Parker, Nancy Pearson, Edite Perkons, Frank Potter, Barbara Redlich & Patricia Wallis,
Virginia Reh, Joan L. Reid, David Roberts, Brenda Rolfe, Mary & Michael Romeo, John E. & Ann Rutherford,
Sheila Shotton, Diane C. Smith, Hume & Judy Smith, Francis E. Sparshott, Sarka Spinkova, Alice Lisa Stanford,
Drs John Stanley & Helmut Reichenbächer, Francoise Sutton, Dr. Fay Tang, Yoriko Tanno-Kimmons & Brian
Kimmons, Beverley & Graham Tomkins, Mr. & Mrs. David G. Trent, Mrs. L. H. Treutler, Ann & Dean Tudor,
Sandra Upjohn, Shirley Harcourt Vernon, Urve Vist, Monique & Christopher Wernham, Ross & Hélène
Whiteside, N & B Whitla, Brian Wilks, Kathlene R. Willing & Dr. M. A. Kabayama, Ernst Zaltsberg
And to all those who wish to remain anonymous…
8.660165-67 20
NAXOS
NAXOS
Rinaldo, its plot drawn from Tasso’s epic of the Crusades, was Handel’s first opera for London,
where it was staged in 1711. The Italian libretto was set in the space of just two weeks by Handel,
who made full use of earlier compositions, particularly those from his recent years in Italy.
The novel Italian singing style with its arias and recitatives, and the sheer variety of colourful 8.660165-67
orchestral effects, ensured that Rinaldo won immediate and widespread success. On this
www.naxos.com
Made in USA
8.660165-67
and from August 25th to September 2nd, 2004
Producers: Bonnie Silver & Norbert Kraft • Engineer: Norbert Kraft • Editor: Bonnie Silver
Performing edition: Kevin Mallon • Booklet Notes: Keith Anderson
Cover image: Rinaldo’s departure from Armida by Giovanni Battista Tiepolo (1696-1770) (akg-images)