11 January 2011

good news from the archives

The Philharmonia Baroque Orchestra is marking its thirtieth anniversary by launching its own record label, Philharmonia Baroque Productions, and they are very wisely leading off with a treasure from their archives: Lorraine Hunt Lieberson, who had a long association with the group, recorded live in 1995 singing Les Nuits d'Ete and Handel arias. The release date is March 8, and you don't need me to tell you that you have to buy this. You can get it on iTunes or Amazon (though it doesn't seem to be listed yet).

They will be releasing two more discs this year as well: live recordings of the Haydn 88, 101, and 104 (coming this April, in conjunction with their performances of Haydn's Creation) and a studio recording of instrumental Vivaldi (coming next September as they open their 31st season).

Here are the details for the Hunt Lieberson disc:

Berlioz, Les Nuits d’été

Handel, “Figlio non è…L’angue offeso mai riposa” from Giulio Cesare
Handel, “Ben a raggion…Vieni, o figlio e mi consola” from Ottone
Handel, “Mirami altero in volto” from Arianna
Handel, “La giustizia ha già sull’arco” from Giulio Cesare
Handel, “Ombra cara di mia sposa” from Radamisto
Handel, “Ogni vento, che al porto lo spinga” from Agrippina
Handel, Encore: “Qual nave smarrita” from Radamisto


John Marcher said...

Four days in a row! Do I get a wish returned?

The Hunt Lieberson disc does sound like something I want to hear.

On another note re your last post- I have this vision of you being the sole attendee and relishing every moment of it.

Patrick J. Vaz said...

Sorry, no returns on wishes. I don't make the rules.

Well, I wouldn't mind being the only person in the auditorium, though I hope for the sake of the presenters I'm not.

I've been thinking a lot lately about the social aspects of theater-going, and how they're not really what I'm interested in and how that affects my view of the marketing and the actual experience etc. I also wonder if I'm getting worse, but then I remember back when I lived in Boston and a very enthusiastic woman called me about subscribing to the excellent group The Cantata Singers and she brightly asked where, in my ideal concert, I would be sitting, and I responded that in my ideal concert I would be sitting anywhere I liked because the hall would be otherwise empty. She seemed a bit baffled so I quickly said front row center. The world, alas, has never encouraged my Louis Quatorze moments. But then he was never alone either.