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COMPOSERHAYDN, FRANZ JOSEPH
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PERFORMERR. Invernizzi, S. Karthauser, A. Hallenberg, A. Dahlin, N. Borchev, A.
Haydn: Il Ritorno Di Tobia / Spering, Invernizzi, Hallenberg
Regular price
$25.99
Sale price
$35.99
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- Naxos
- November 20, 2007
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RELEASE DATENovember 20, 2007
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UPC747313030071
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CATALOG NUMBER8570300-02
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LABELNaxos
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NUMBER OF DISCS3
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GENRE
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Part I: Sinfonia
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Conductor: Andreas Spering
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Part I: Pieta d'un'infelice (Anna, Tobit, Ebrei)
Composer: Franz Joseph Haydn
Ensemble: Cologne Vocal Ensemble, Capella Augustina
Performer: Ann Hallenberg, Nikolay Borchev
Conductor: Andreas Spering
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Part I: Recitative: Ne comparisce, o Dio! (Anna, Tobit)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Ann Hallenberg, Nikolay Borchev
Conductor: Andreas Spering
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Part I: Aria: Sudo il guerriero (Anna)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Ann Hallenberg
Conductor: Andreas Spering
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Part I: Recitative: Deh modera il dolor (Tobit)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Nikolay Borchev
Conductor: Andreas Spering
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Part I: Aria: Ah tu m'ascolta (Tobit)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Nikolay Borchev
Conductor: Andreas Spering
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Part I: Recitative: Non e quello Azaria (Anna, Raffaelle)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Roberta Invernizzi, Ann Hallenberg
Conductor: Andreas Spering
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Part I: Aria: Anna, m'ascolta! (Raffaelle)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Roberta Invernizzi
Conductor: Andreas Spering
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Part I: Recitative: Che disse? (Anna)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Ann Hallenberg
Conductor: Andreas Spering
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Part I: Aria: Ah gran Dio (Anna)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Ann Hallenberg
Conductor: Andreas Spering
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Part I: Ah gran Dio! (Ebrei)
Composer: Franz Joseph Haydn
Ensemble: Cologne Vocal Ensemble, Capella Augustina
Conductor: Andreas Spering
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Part I: Recitative: Sara, mia dolce sposa (Tobia, Sara)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Sophie Karthäuser, Anders J. Dahlin
Conductor: Andreas Spering
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Part I: Aria: Quando mi dona un cenno (Tobia)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Anders J. Dahlin
Conductor: Andreas Spering
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Part I: Recitative: Somme grazie ti rendo (Sara)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Sophie Karthäuser
Conductor: Andreas Spering
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Part I: Aria: Del caro sposo (Sara)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Sophie Karthäuser
Conductor: Andreas Spering
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Part I: Recitative: Rivelarti a Dio piacque (Raffaelle, Tobit, Sara, Anna, Tobia)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Roberta Invernizzi, Ann Hallenberg, Sophie Karthäuser, Nikolay Borchev
Conductor: Andreas Spering
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Part I: Odi le nostre voci (Ebrei, Tobia, Anna, Tobit, Sara, Raffaelle)
Composer: Franz Joseph Haydn
Ensemble: Cologne Vocal Ensemble, Capella Augustina
Performer: Ann Hallenberg, Nikolay Borchev, Anders J. Dahlin
Conductor: Andreas Spering
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Part II: Recitative: Oh della santa fe stupendi effetti! (Anna, Sara, Raffaelle)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Roberta Invernizzi, Ann Hallenberg, Sophie Karthäuser
Conductor: Andreas Spering
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Part II: Aria: Come se a voi parlasse (Raffaelle)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Roberta Invernizzi
Conductor: Andreas Spering
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Part II: Recitative: Ad Azaria nel volto (Anna, Sara)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Ann Hallenberg, Sophie Karthäuser
Conductor: Andreas Spering
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Part II: Aria: Non parmi esser fra gl'uomini (Sara)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Sophie Karthäuser
Conductor: Andreas Spering
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Part II: Recitative: Che soave parlar! (Anna, Tobia)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Ann Hallenberg, Anders J. Dahlin
Conductor: Andreas Spering
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Part II: Aria: Quel felice nocchier (Tobia)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Anders J. Dahlin
Conductor: Andreas Spering
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Part II: Recitative: Giusta brama l'affretta (Anna)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Ann Hallenberg
Conductor: Andreas Spering
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Part II: Aria: Come in sogno un stuol m'apparve (Anna)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Ann Hallenberg
Conductor: Andreas Spering
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Part II: Svanisce in un momento (Ebrei)
Composer: Franz Joseph Haydn
Ensemble: Cologne Vocal Ensemble, Capella Augustina
Conductor: Andreas Spering
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Part II: Recitative: Ah dove corri, oh padre? (Tobia, Tobit, Raffaelle)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Roberta Invernizzi, Nikolay Borchev, Anders J. Dahlin
Conductor: Andreas Spering
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Part II: Aria: Invan lo chiedi, amico (Tobit)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Nikolay Borchev
Conductor: Andreas Spering
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Part II: Recitative: Che fulmine improvviso! (Tobia, Anna)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Ann Hallenberg, Anders J. Dahlin
Conductor: Andreas Spering
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Part II: Duet: Dunque, oh Dio, quando sperai (Tobia, Anna)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Ann Hallenberg, Anders J. Dahlin
Conductor: Andreas Spering
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Part II: Recitative: Qui di morir si parla (Sara, Anna, Tobia, Tobit, Raffaelle)
Composer: Franz Joseph Haydn
Ensemble: Capella Augustina
Performer: Ann Hallenberg, Sophie Karthäuser, Nikolay Borchev, Anders J. Dahlin
Conductor: Andreas Spering
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Part II: Quartet: Io non oso alzar (Sara, Anna, Tobia, Tobit, Ebrei) - Otterem gloria maggiore e maggior felicita (Ebrei)
Composer: Franz Joseph Haydn
Ensemble: Cologne Vocal Ensemble, Capella Augustina
Performer: Ann Hallenberg, Sophie Karthäuser, Anders J. Dahlin
Conductor: Andreas Spering
Featuring ⌄
Product Details ⌄
Works ⌄
A welcome addition … worthy to set alongside the other great achievements of Haydn’s middle period.
This is a real find and a welcome addition to the Naxos catalogue. Haydn is justifiably famous for his oratorios The Seasons and The Creation. The latter has been recorded by these artists for Naxos to great acclaim. Now Andreas Spering and his Capella Augustina have unearthed Haydn’s first, all but forgotten oratorio, The Return of Tobias. The apocryphal subject of Tobias and the angel was extraordinarily popular in Haydn’s Vienna when he was composing this work, and he chose to home in on the section of the story when Tobias (Tobia) returns from his long absence from home and, with the help of his friend Asaria, aka the Archangel Raphael in disguise, cures his father’s blindness. Haydn takes this as an opportunity to create an oratorio which, while not as pacy or fast-moving as The Seasons and The Creation, contains much of beauty, and some very virtuosic singing for both chorus and soloists. Popular as the Tobias legend was in 1775, however, it quickly fell out of favour. It was furthermore felt that Haydn’s oratorio was too long (nearly 3 hours) and difficult to be easily revived so it fell out of favour and has barely been heard since. Length is less of an issue when you listen at home and, thankfully, the artists involved here make this difficult score seem all but effortless.
The first accolades have to go to the young soloists. We might hope that Nikolay Borchev would have sounded a little more weighty as Tobit, the blind father, but he brings pathos and sympathy to what could have seemed a dry character. His opening aria, Ah tu m’ascolta, oh Dio appropriately invokes sympathy for a man who seems to have lost all sympathisers on earth. Similarly Anders J. Dahlin is perhaps less forthcoming than we would expect from the hero of the story, but he brings a wonderfully mellifluous tone to the character of Tobias himself, from his first aria upon his return to his parental home, until the final miracle when his father is healed. The outstanding contributions, however, come from the three women soloists. Anna, Tobias’ aged mother, is characterfully sung by Ann Hallenberg. Her rich, fruity mezzo is perfect for the tone of despair the character needs at the opening, and she lightens her tone admirably when the mood of the piece turns more joyful in Part 2. Listen to her exciting opening aria (CD1, Track 4) and you will see how Haydn can create instant interest in the character, as well as how seemingly easily Hallenberg copes with it. Her nightmare aria is Part 2 is thrilling. Sophie Karthäuser tailors her tone to handle Tobias’ virtuous and dutiful wife, Sara. Most admirable of all, however, is Roberta Invernizzi, singing the role of Raphael. The angel is given appropriately difficult, often stratospheric music and Invernizzi sings it with flawless coloratura and effortless command of the technique.
The chorus seems totally convinced by this work and they throw themselves into their parts as if they were singing opera, which it often feels like they are. Two moments to watch out for: their fugal chorus that ends Part One is particularly exciting, and their stormy Part 2 chorus, Svanisce in un momento was resurrected by Haydn as his concert motet Insanae et vanae curae. The Capella Augustina, a period ensemble founded by Andreas Spering himself, plays this music as if it were written for it, and the chamber textures that Haydn is fond of using sound perfectly judged. Listen to Sarah’s Part 2 aria, Non parmi esser fra gl’uomini for a good example of how well orchestra and soloists blend. Spering holds the whole thing together with assured control, but also a sense of spontaneity, as if the music is unfolding in precisely the correct manner. This CD is a welcome addition to the catalogue, and something worthy to set alongside the other great achievements of Haydn’s middle period. Three cheers to Naxos for choosing to give it such a distinguished outing on CD. The booklet contains commentary, synopsis and Italian texts, but no translations.
-- Simon Thompson, MusicWeb International
This is a real find and a welcome addition to the Naxos catalogue. Haydn is justifiably famous for his oratorios The Seasons and The Creation. The latter has been recorded by these artists for Naxos to great acclaim. Now Andreas Spering and his Capella Augustina have unearthed Haydn’s first, all but forgotten oratorio, The Return of Tobias. The apocryphal subject of Tobias and the angel was extraordinarily popular in Haydn’s Vienna when he was composing this work, and he chose to home in on the section of the story when Tobias (Tobia) returns from his long absence from home and, with the help of his friend Asaria, aka the Archangel Raphael in disguise, cures his father’s blindness. Haydn takes this as an opportunity to create an oratorio which, while not as pacy or fast-moving as The Seasons and The Creation, contains much of beauty, and some very virtuosic singing for both chorus and soloists. Popular as the Tobias legend was in 1775, however, it quickly fell out of favour. It was furthermore felt that Haydn’s oratorio was too long (nearly 3 hours) and difficult to be easily revived so it fell out of favour and has barely been heard since. Length is less of an issue when you listen at home and, thankfully, the artists involved here make this difficult score seem all but effortless.
The first accolades have to go to the young soloists. We might hope that Nikolay Borchev would have sounded a little more weighty as Tobit, the blind father, but he brings pathos and sympathy to what could have seemed a dry character. His opening aria, Ah tu m’ascolta, oh Dio appropriately invokes sympathy for a man who seems to have lost all sympathisers on earth. Similarly Anders J. Dahlin is perhaps less forthcoming than we would expect from the hero of the story, but he brings a wonderfully mellifluous tone to the character of Tobias himself, from his first aria upon his return to his parental home, until the final miracle when his father is healed. The outstanding contributions, however, come from the three women soloists. Anna, Tobias’ aged mother, is characterfully sung by Ann Hallenberg. Her rich, fruity mezzo is perfect for the tone of despair the character needs at the opening, and she lightens her tone admirably when the mood of the piece turns more joyful in Part 2. Listen to her exciting opening aria (CD1, Track 4) and you will see how Haydn can create instant interest in the character, as well as how seemingly easily Hallenberg copes with it. Her nightmare aria is Part 2 is thrilling. Sophie Karthäuser tailors her tone to handle Tobias’ virtuous and dutiful wife, Sara. Most admirable of all, however, is Roberta Invernizzi, singing the role of Raphael. The angel is given appropriately difficult, often stratospheric music and Invernizzi sings it with flawless coloratura and effortless command of the technique.
The chorus seems totally convinced by this work and they throw themselves into their parts as if they were singing opera, which it often feels like they are. Two moments to watch out for: their fugal chorus that ends Part One is particularly exciting, and their stormy Part 2 chorus, Svanisce in un momento was resurrected by Haydn as his concert motet Insanae et vanae curae. The Capella Augustina, a period ensemble founded by Andreas Spering himself, plays this music as if it were written for it, and the chamber textures that Haydn is fond of using sound perfectly judged. Listen to Sarah’s Part 2 aria, Non parmi esser fra gl’uomini for a good example of how well orchestra and soloists blend. Spering holds the whole thing together with assured control, but also a sense of spontaneity, as if the music is unfolding in precisely the correct manner. This CD is a welcome addition to the catalogue, and something worthy to set alongside the other great achievements of Haydn’s middle period. Three cheers to Naxos for choosing to give it such a distinguished outing on CD. The booklet contains commentary, synopsis and Italian texts, but no translations.
-- Simon Thompson, MusicWeb International
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