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Handel - Giulio Cesare / Jacobs

George Frideric Handel (Composer), Rene Jacobs (Conductor), Concerto Koln (Orchestra), Format: Audio CD
4.8 4.8 out of 5 stars 75 ratings
$29.97
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Audio CD, Import, July 13, 2018
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Audio CD, November 1, 1991
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Track Listings

Disc: 1

1 Ov - Con Koln/Rene Jacobs
2 Act 1, Scene 1. Cesare E Curio: Viva Il Nostro Alcide - Con Koln/Rene Jacobs
3 Act 1, Scene 1. Cesare E Curio: Aria: Presti Omai/Scene 2. Cornelia, Sesto E Detti - Jennifer Larmore
4 Act 1, Scene 3. Achilla, E Detti: Aria: Empio, Diro - Jennifer Larmore
5 Act 1, Scene 4. Curio, Sesto E Cornelia: Aria: Priva Son D'Ogni Conforto - Bernarda Fink
6 Act 1, Scene 4. Curio, Sesto E Cornelia: Aria: Svegliatevi Nel Core - Marianne Rorholm
7 Act 1, Scene 5. Cleopatra, Poi Nireno, E Dopo Tolomeo: Aria: Non Disperar - Barbara Schlick
8 Act 1, Scene 6. Tolomeo, Ed Achilla: Aria: L'Empio, Sleale - Derek Lee Ragin
9 Act 1, Scene 7. Cesare, E Poi Curio Che Introduce Cleopatra E Nireno: Aria: Alma Del Gran Pompeo - Jennifer Larmore
10 Act 1, Scene 7. Cesare, E Poi Curio Che Introduce Cleopatra E Nireno: Aria: Non E Sivago - Jennifer Larmore
11 Act 1, Scene 7. Cesare, E Poi Curio Che Introduce Cleopatra E Nireno: Aria: Tutto Puo - Barbara Schlick
12 Act 1, Scene 8. Cornelia, E Poi Sesto; Cleopatra E Nireno In Disparte: Aria: Nel Tuo Seno - Bernarda Fink
13 Act 1, Scene 8. Cornelia, E Poi Sesto; Cleopatra E Nireno In Disparte: Aria: Cara Speme - Marianne Rorholm
14 Act 1, Scene 8. Cornelia, E Poi Sesto; Cleopatra E Nireno In Disparte: Aria: Tu La Mia Stella - Barbara Schlick

Disc: 2

1 Act 1, Scene 9. Cesare, Tolomeo Ed Achilla: Cesare, Alla Tua Destra/Aria: Va Tacito/Scene 10... - Derek Lee Ragin/Jennifer Larmore
2 Act 1, Scene 11. Cornelia, Sesto, Ed Achilla: Aria: Tu Sei Il Cor - Furio Zanasi
3 Act 1, Scene 11. Cornelia, Sesto, Ed Achilla: Son Nata A Lagrimar - Bernarda Fink/Marianne Rorholm
4 Act 2, Scene 1. Cleopatra, E Nireno: Eseguisti, O Niren - Barbara Schlick
5 Act 2, Scene 2. Nireno, E Poi Cesare: Sinf - Con Koln/Rene Jacobs
6 Act 2, Scene 2. Nireno, E Poi Cesare: Aria: V'Adoro, Pupille - Barbara Schlick
7 Act 2, Scene 2. Nireno, E Poi Cesare: Aria: Se In Fiorito - Jennifer Larmore
8 Act 2, Scene 3. Cornelia, E Poi Achilla - Bernarda Fink/Furio Zanasi/Derek Lee Ragin
9 Act 2, Scene 4. Cornelia, Tolomeo: Aria: Se A Me Non Sei Crudele - Furio Zanasi
10 Act 2, Scene 4. Cornelia, Tolomeo: Aria: Si Spietata/Scene 5. Cornelia, E Poi Sesto - Derek Lee Ragin
11 Act 2, Scene 6. Nireno, E Detti: Aria: Cessa Omai - Bernarda Fink
12 Act 2, Scene 6. Nireno, E Detti: Aria: L'Angue Offeso - Marianne Rorholm
13 Act 2, Scene 7. Cleopatra, E Poi Cesare: Aria: Venere Bella - Barbara Schlick/Olivier Lallouette
14 Act 2, Scene 8. Curio, E Detti: Aria: Al Lampo Dell' Armi - Jennifer Larmore

Disc: 3

1 Act 2, Scene 8. Curio, E Detti: Che Sento?/Aria: Se Pieta - Barbara Schlick
2 Act 2, Scene 9. Tolomeo, Cornelia, E Poi Sesto: Aria: Belle Dee/Scene 10. Achilla, E Detti - Derek Lee Ragin
3 Act 2, Scene 11. Sesto, E Cornelia. Aria: L'Aura Che Spira - Marianne Rorholm
4 Act 3, Scene 1. Achilla: Aria: Dal Fulgor - Furio Zanasi
5 Act 3, Scene 2. Tolomeo, Cleopatra: Sinf - Con Koln/Rene Jacobs
6 Act 3, Scene 2. Tolomeo, Cleopatra: Aria: Domero - Derek Lee Ragin
7 Act 3, Scene 3. Cleopatra, Solo Con Guardie: E Pur Cosi/Aria: Piangero - Barbara Schlick
8 Act 3, Scene 4. Cesare, Poi Sesto, Nireno, Ed Achilla: Aria: Dall' Ondoso/Aure, Deh, Per Pieta - Jennifer Larmore
9 Act 3, Scene 4. Cesare, Poi Sesto, Nireno, Ed Achilla: Aria: Quel Torrente - Jennifer Larmore
10 Act 3, Scene 5. Sesto, E Nireno: Aria: La Giustizia - Marianne Rorholm
11 Act 3, Scene 6. Cleopatra, E Poi Cesare: Voi, Che Mie Fide Ancelle - Barbara Schlick
12 Act 3, Scene 6. Cleopatra, E Poi Cesare: Aria: Da Tempeste/Scene 7. Cornelia, E Tolomeo - Barbara Schlick
13 Act 3, Scene 8. Sesto, E Detti: Aria: Non Ha Piu - Bernarda Fink

Disc: 4

1 Act 3, Scene Ultima. Cesare, Cleopatra, Curio, Nireno, Sesto E Cornelia: Sinf - Con Koln/Rene Jacobs
2 Act 3, Scene Ultima. Cesare, Cleopatra, Curio, Nireno, Sesto E Cornelia: Caro/Bella - Barbara Schlick/Jennifer Larmore
3 Act 3, Scene Ultima. Cesare, Cleopatra, Curio, Nireno, Sesto E Cornelia: Ritorni Omai - Con Koln/Rene Jacobs
4 Appendix: Aria: Qui Perde Un Momento - Dominique Visse

Editorial Reviews

Jennifer Larmore

Product details

  • Is Discontinued By Manufacturer ‏ : ‎ No
  • Product Dimensions ‏ : ‎ 5.03 x 5.63 x 1.27 inches; 11.84 ounces
  • Manufacturer ‏ : ‎ HARMONIA MUNDI
  • Original Release Date ‏ : ‎ 1991
  • SPARS Code ‏ : ‎ DDD
  • Date First Available ‏ : ‎ December 8, 2006
  • Label ‏ : ‎ HARMONIA MUNDI
  • ASIN ‏ : ‎ B000027O71
  • Number of discs ‏ : ‎ 3
  • Customer Reviews:
    4.8 4.8 out of 5 stars 75 ratings

Customer reviews

4.8 out of 5 stars
4.8 out of 5
75 global ratings

Top reviews from the United States

B. Laleman
5.0 out of 5 stars A version of Giulio Cesare not to be missed
Reviewed in the United States on June 28, 2017
Verified Purchase
I am completely taken by this version of Giulio Cesare. Mr. Jacobs conducts Handel's music with delicacy and sensitivity. It seems that he totally understands Handel's intent with the music. All the voices are amazing in tone and artistry. If you want an opera to listen to while you read a book or do something else, this is not the opera for you. From the very first note played, it commands your complete attention with its strength and complexity. The voices are integrated into the rest of the orchestra as instruments themselves. Handel blended the voices seamlessly with the orchestra. This may sound odd, but to enjoy the opera, you don't need to know what is being sung or the plot. The music stands by itself as a compelling orchestral work. Another thing that may sound odd is that the female voices integrate perfectly with the plucked and bowed strings predominant in the opera, and on many occasions the male voices, unless they are in the chorus, actually don't feel like they belong, even though they are wonderful in themselves. They stand out as separate from the orchestra. The limited use of horns is an exciting addition to the tone of the music, and they fit perfectly where Handel placed them. A perfect embellishment to the strings. All in all, this is a breathtaking opera performed and conducted in a way that I believe Handel would be proud to hear.
3 people found this helpful
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Frank Paris
5.0 out of 5 stars Very enjoyable - finally
Reviewed in the United States on October 11, 2002
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I am a big Charles Mackerras fan, and generally love his performances. So when I found myself less than enchanted with his recording of "Giulio Cesare" I blamed it on the music, and more or less forgot about the work, letting the album languish on my shelf for years without listening to it. Then I recently bought the "New Penguin Opera Guide" (a book to die for, by the way) and started reading through all the Handel operas, since I am a huge fan of these works (and his oratorios). Imagine my surprise to learn that "Giulio Cesare" is considered one of Handel's finest operas! I thought to myself, "Don't I have that opera?" Looking through my shelves of Handel, sure enough, I rediscovered my Mackerras recording and played it. Nope. Didn't like it, so decided to search for another recording, and the only other one of note is this Rene Jacobs recording, so I quickly ordered it from Amazon. From the first few bars, WOW! What have I been MISSING? I just LOVE this Jacobs performance. Now THAT's the Handel I know and love, I said to myself. This is a very exciting, idiomatic performance and can only wonder what happened to Mackerras when he turned his baton to it. Highly recommended.
47 people found this helpful
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Thistle Brown
5.0 out of 5 stars A fair treat.....
Reviewed in the United States on September 7, 2006
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I'm always interested in how others review music, particularly opera, which I, among many others, consider the ultimate classical music experience, i.e., it has EVERYTHING.

Aside from a few quarrels with a singer or two - no big deal - I would rather have had this on three discs and neglected the 4'25" it took for the Nireno aria. My figuring may not be correct (someone will inform me), but I believe without that last aria, the opera wold have fit on three. Having said THAT, I have to assume that the distribution would have been off and made this recording less than it is in this state. However picky I appear (okay, I'm picky), the fourth disc contains a mere 23'25".
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Mac
5.0 out of 5 stars Bestow palms upon the victor!
Reviewed in the United States on July 16, 2020
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Phenomenal performances. Rene Jacob's conducting and the balance in this Harmondi Mundi recording provide a perfect auditory experience. Soloists are uniformly great and most especially Jennifer Larmore. Her vocal pyrotechnics are amazing. The Harnoncourt version pales by comparison.
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Adrienne Brown
5.0 out of 5 stars Enchanting!
Reviewed in the United States on October 15, 2020
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My favorite opera! Am not a connoisseur, just addicted to Haendel. Cannot get enough of his compositions.
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madamemusico
4.0 out of 5 stars Interesting performance of a great Baroque opera
Reviewed in the United States on August 20, 2004
Handel's "Giulio Cesare" is undoubtedly his masterpiece, the greatest Baroque opera ever written. It deals with both history and the complex feelings of its characters honestly, portraying them in music that exhibits the very height of the form.

Unfortunately, Baroque opera was all about singing alternating arias (and duets) in a mostly rapid fashion with lots of machine-like runs, trills, and staccato notes. This style went the way of the dinosaur with the later works of Gluck and the following operatic styles of Spontini, Berlioz and Verdi, all of which are far more popular today. Thus we have to make a tremendous "ear adjustment" in order to appreciate this style, which is even far more ornate than the operas of Cavalli and Monteverdi.

Within these contexts, however, the present cast and conductor give us a sturdy, powerful performance, spearheaded by the superb mezzo Jennifer Larmore as Caesar. This was only her second recording (the first was as Maddalena in the Telarc recording of "Rigoletto"), and it catapulted her to fame. The rest of the cast is very good within the confines of this style, and Rene Jacobs--himself an excellent countertenor turned conductor--leads his forces with spirited commitment.

The reason I only gave this recording 4 stars instead of 5 is because, to my ears, Jacobs' conducting is a tad metronomic, not as bad as Christopher Hogwood but not as fluid as William Christie or the remarkable Mark Minkowski. Minkowski's "Giulio Cesare," unfortunately, suffers from a sub-par performance by Ann Sophie von Otter that crucially mars the opera, so this is probably the best choice.
13 people found this helpful
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Daniel Conway
5.0 out of 5 stars Amazing sound!
Reviewed in the United States on February 11, 2020
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Amazing sound, excellent singing and a great orchestra and conductor. Don’t miss this Giulio Cesare!
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Amazon Customer
5.0 out of 5 stars Happily, it's a good production
Reviewed in the United States on July 24, 2014
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Rather a Hobson's Choice of Giulio Cesare recordings--if you want a complete recording in the original Italian with the singers in the original registers, then this is your only choice. Happily, it's a good production.
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Alejandro García de Pruneda
1.0 out of 5 stars CAJA GRASIENTA Y CON MANCHAS
Reviewed in Spain on February 1, 2024
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Nada que objetar a la maravillosa edición de René Jacobs, pero me ha llegado en unas condiciones lamentables, con la caja grasienta y manchas en sus esquinas.
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Alejandro García de Pruneda
1.0 out of 5 stars CAJA GRASIENTA Y CON MANCHAS
Reviewed in Spain on February 1, 2024
Nada que objetar a la maravillosa edición de René Jacobs, pero me ha llegado en unas condiciones lamentables, con la caja grasienta y manchas en sus esquinas.
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Amadeus
5.0 out of 5 stars Meisterwerk beschwingt dargebracht
Reviewed in Germany on January 26, 2019
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René Jacobs bringt diese Musik mit einer natürlichen Leichtigkeit,
ohne die Verzierungen zu untertreiben regelrecht andante - beschwingt
gehend - dar, sodass man das Gefühl hat, es handelte sich von der
Verständlichkeit her bei Giulio Cesare von Händel um eine
Volksweise, ein Kinderlied oder dergleichen.

Die Sänger sind alles sehr gut disponiert und haben auch den
Sinn dafür, ihre Partien sehr gut studiert zu geben, manchmal
fast sogar beiläufig, in jedem Fall natürlich und ganz so,
wie man es hören möchte. Ich würde das häufige Vorkommen einer
Art von Ritornell (Wiederkehrendem) dabei als besonders wichtig hervorheben.

Denn nur wenn man es schafft, die häufigen Wiederholungen
immer interessant zu halten, sie zu genießen, ja sie mitunter
als Neuanfänge anzunehmen, dass kommt die positive Freude
dieses Werkes - wie auch zahlreiche diesbezüglich ähnliche Barockopern,
wenn sie so gemacht sind hinsichtlich der Da Capos oder nur scheinbaren Da Capos wie diese - zu 100 % rüber.
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PATRICE PRIVAT
5.0 out of 5 stars A MASTERPIECE
Reviewed in France on September 10, 2016
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probably one of his best works, delightful music, i recommend it to every lover of baroque music, it is amazing.
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DAVID BRYSON
5.0 out of 5 stars BIG DEALS
Reviewed in the United Kingdom on December 8, 2012
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If opera libretti from around this time had often been as good as this one is, Gluck would hardly have needed his programme of reform. Considering what magic in the right sense Handel was able to produce for a book full of magic in the wrong sense like Rinaldo, the omens were good for Giulio Cesare. What we have here, it seems to me, is a masterpiece on the level of Figaro and Don Giovanni, and that not just as music but as drama too. The story-line is clear and without absurdities, and the events are significant in history. If things had gone just a little differently, the destiny of Rome and the fate of Egypt could have been determined in Cleopatra's bed. Other unions are also suggested, but while in these cases `marriage' is only a euphemism for you-know-what, even here there could have been outcomes that history would have had to notice.

This is a long opera, and on such a theme so it should be. The final scene spills over on to a fourth disc, and on the cd version we have the bonus of an extra aria that Handel had put into a 1725 performance. This song is also known to us as one of the nine wonderful German arias that Handel produced in the full flower of his English period to poems by his university friend Brockes. What it provides here is something for the countertenor Dominique Visse to sing in the part of the eunuch Nireno which is otherwise restricted to recitative. Most commentary that I have seen finds the cast strong, and I concur. A certain amount of criticism has been directed at the Sesto, Marianne Rorholm, and I think it is slightly unfair. She may not be the Sesto from heaven, but she handles the part quite competently, and in particular she has to get her share of credit for ensemble work that she takes part in, notably a really lovely final duet at the end of the first act.

In fact it is interesting to compare the first arias from Cesare, Cleopatra and Tolomeo, because I seem to hear something a little different from others who share my generally favourable view of the performers. Cesare's opening number is a formidable effort `Presti omai', and actually to me Jennifer Larmore seems a bit afraid of it. If so, no wonder. The coloratura is taxing and the pitch is high, and Larmore sounds stiff rather than commanding, as if it had given her trouble previously, ending with intonation in the little cadenza that is not beyond question. She does better with the roulades of her next aria, but Cleopatra improves on that with `Non desperar'. Then comes something that took me aback - both women are given an object lesson in coloratura breath-control by Derek Lee Ragin as Tolomeo in his `L'empio sleale'. I have never been fully comfortable with the countertenor voice, Ragin's in particular. His tone is light and almost feminine, but I guess that this is a rather brilliant piece of casting as the pampered and petulant Tolomeo, especially as he can summon up some power that I had not expected when the situation calls for it.

Between Cesare and Cleopatra in that first scene we hear another kind of music with Cornelia's heartrending `Priva son'. It's not too much of an exaggeration to say that the music of and from the heart is superbly well done throughout this long opera, and if that includes a little commendation for Rorholm I'm relaxed about that. Indeed, once Larmore has settled down everything seems to go off well. There is little or nothing to object to in the work of the other singers, and the recorded tone is sympathetic to both them and the instrumentalists. There are fine solos from these, most famously the horn obbligato at `Va tacito', but also the solo violin at `Se in fiorito' and some work for the harpist. However on the instrumental side it is the work of the band as a unit that I want to commend especially. The Concerto Koln under Rene Jacobs are eminent baroque specialists, but their properly nourished tone is a continuing pleasure to someone who lived through the starvation-diet that was offered by the pioneers of the authentic movement. This orchestral sound is actually beautiful, and if anyone thinks that it harks back to the often bloated sound of the 50's, just let them play a bit of that and they will soon appreciate that the cause has not been betrayed. Similar considerations apply to the tempi chosen. In the early days nobody dared adopt a properly slow tempo, and I can hardly bear to think what depths of expressiveness would have been lost to us here in the hands of the speed-merchants.

This is a full-dress production with the text in four languages, a synopsis as well, and photos of the singers. The essay by Winton Dean is in three languages not including Italian for some quixotic reason. Winton Dean is always reliable, and I suppose I am allowed to disagree with his view that Cleopatra dominates the action, where I would give that award to Cesare himself. If anything the essay is a bit too long and a bit padded, I thought, but as I say sound basically.

No performance this long can be expected to be `perfect' (whatever that is), and I have no qualms about giving this 5 stars. It strikes me, all the same, that I have an LP of this opera in English, with Baker as Caesar and Mackerras conducting. I have no right to expect that these artists will eclipse later rivals that in themselves seem excellent, but the thing has happened before, and I am now going to put it to the test. In any case the Baker/Mackerras job, being in English, does not have to be viewed as a direct rival.
9 people found this helpful
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albaron
5.0 out of 5 stars una delle più belle opere di Haendel
Reviewed in Italy on May 10, 2012
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Giulio Cesare è sicuramente una delle opere più belle di Haendel, ricca di arie memorabili.
Questa versione si presenta in 4 dischi (il 4° dura in realtà solo una ventina di minuti), ed è probabilmente la più completa disponibile.
La registrazione molto buona, ed il cast eccellente. Unica, piccola delusione, il fatto che arie e recitativi non siano separati nella numerazione sul CD.
Assolutamente consigliata.
4 people found this helpful
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