I am listening to this again for the first time in a while and noting my own comment from a year ago, I add specifically that the soprano at 20mins is ravishing - which is as far as I have got so far.
‘Aetsi’ was first perform’d (as ‘EZIO’) on 15 Jan 1732, and receiv’d only 5 performances before the management of the King’s Theatre Covent Garden Opera pull’d it ‘for sparse Attendance of ye Publick at Large’- much to the horror of Handel who up to this time had never produc’d a failure on the stage-especially since George II had attended the first 4 performances with evident satisfaction - perhaps one of the reasons for the opera’s evident dissatisfaction with this opera was the evident lack of concerted numbers (arias & recitativi only, no duetti, no trios or quartets or marches or choruses which might have added to the Roman Empire ambiance etc) but as it stands musically, Ezio is a technical masterpiece with advanc’d dramatic nuance that borders many times on the overt ‘romantic’ (tho’ admittedly quite out of line with Metastasio’s wooden ‘hard-classical’ libretto (one of the reasons perhaps why Handel stop’d setting his libretti from that moment on)… Since its Goettingen revival in 1926, the opera has thankfully fallen back into public favour with over 300 successful performances through 2021-and at long last has enter’d the permanent Handelian repertoire at annual festivals celebrating thus man’s operatic genius for dramatic expression… If Handel wish’d to have done, he could have revis’d the original production by adding grand marches, duets, quartets & a few of his grand & illustrious choruses - but he seem’d to have wash’d his hands of Metastasio (having set Siroe Re di Persia & Poro quite successfully in the past)-one imagines Handel himself was taken aback at not only the suddenly unexpected but overt box office failure of Ezio but also was having major issues with his new cast who took some time to acquaint themselves with his idiosyncratic dramatic intentions on his Opera stage - but time had prov’d the intrinsic worth of this magnificent Operatic masterpiece - If only the Great Handel were alive to-day to see to what extent the operatic public has come to lionise his operatic output ! One imagines he is smiling down at us lowly modern mortals from his high musical perch in heaven ! Here is a brief SYNOPSIS of the plot of (‘Aetsi’ = Flavius Aetius = ‘Ezio’, HWV 29, (1732) Setting, the Western Empire’s Roman Forum in the waning years of the collapse of the Divided (Western) Roman Empire under Emperor Valentinius III … in AD 451 ACT ONE Ezio is being officially welcom’d back to Rome by the Emperor in an elaborate procession in the Foro Romano, having defeated Carthaginian King Attila-and greets his fiancé Fulvia daughter of the Emperor’s confidante Massimo (who secretly harbours a vendetta against the emperor for the evident flirtation Valentinian had with Massimo’s wife the year before…and wants him dead). Massimo tells Ezio that whilst he was it fighting the enemy that the Emperor was secretly having an affair with Fulvia (Massimo’s beloved daughter) with the intention to make her Empress & the only thing left to do to save his honour is to kill him-but Ezio is horrified; Massimo then goes to his daughter encouraging her to marry the Emperor then slit his throat on the wedding night but she too refuses to listen to such a plot which leads Massimo to take matters into his own hands & hire Aemilio as a paid assassin… Meanwhile Onoria, sister of the Emperor, confides in the leader of the praetorian Guard Varo that she loves Ezio & to tell her a little about his character… Although the Emperor is growing envious of Ezio’s popular fame with the masses he offers Onoria to him-but Ezio refuses stating outloud that he is engag’d to Fulvia-which leads the Emperor to admit his own love for Fulvia & the Wedding is already in the works… ACT TWO Outside the Palace. Night. Massimo is seen nervously pacing up and down the stage waiting to hear if Aemilio’s sword had done its work when word reaches him by his daughter Fulvia entering stage right that the Emperor has surviv’d an assasination attempt and that Aemilio has been arrested. Massimo goes to see if the emperor is indeed still alive and falsely accuses Ezio of the plot. Fulvia knows her father is lying but does not let on nor does she have the heart to denounce Ezio to the emperor as ‘un Traditore’ and tries to get Ezio to flee Rome, but he refuses on the grounds that he is innocent of such a terrible action…and is promptly arrested by the Emperor’s Praetorian Guard.. . Fulvia then hatches a plan of her own to marry the Emperor and thus to free Ezio and when Ezio is dragg’d in front of the Emperor to name names, Ezio remains tight-lipp’d and is led to a dungeon and put in chains awaiting Trial… ACT III Onoria visits Ezio in prison and urges him to name the true assassins but he remains silent not wishing to implicate Massimo…she then goes to her brother telling him that Ezio won’t talk and urges him to convince Fulvia to use her influence with Ezio to spill the beans but when she tries to get something out of him he remains as silent as the grave … Varo meanwhile officially denounced Ezio as a traitor to Rome and (falsely) tells both Onoria and Fulvia that his head has just been separated from his body … Aemilio meanwhile is dying under torture in his prison cell and confesses under the rack that Ezio is innocent - Fulvia then sees no way out for him but to confess to the Emperor that Aemilio’s attempt on his life was all her idea-/fueling the Emperor’s growing of paranoia seeing assassins everywhere … Massimo himself had been gathering around him a band of arm’d rebels who storm the palace arm’d with broadswords but Fulvia throws herself in front of the Emperor to protect him from harm when Varo walks in stage right with Ezio quite alive (and in one piece) and the emperor can see Fulvia & Ezio are truly lovers and that it was wrong of him to keep the pursuing other men’s women and allows their marriage to go forward, freeing him from his chains while Fulvia begs him to pardon her father Massimo for his vendetta & all ends with a joyous celebration … This present recording aptly catches the Handelian spirit of the original and the performers each do great justice time Handel’s carefully crafted masterpiece of the Baroque Operatic Stage …
00:00:00 01. *Act I* - Ouverture 00:03:19 02. Act I - Scena I - La Marche 00:04:47 03. Act I - Scena I - 'Signor, vincemmo' 00:05:45 04. Act I - Scena I - Aria: 'Se tu la reggi al volo' 00:11:15 05. Act I - Scena II - 'Lascia ch'al sen ti stringa!' 00:13:35 06. Act I - Scena II - Aria: 'Pensa a serbarmi, o cara' 00:17:27 07. Act I - Scena III - 'E tempo, o genitore' 00:19:31 08. Act I - Scena III - Aria: 'Caro padre, a me non dei' 00:25:05 09. Act I - Scena IV - 'Un oltraggiato amore' 00:25:51 10. Act I - Scena IV - Aria: 'Il nocchier che si figura' 00:29:43 11. Act I - Scena V - 'Del vincitor ti chiedo' 00:31:01 12. Act I - Scena V - Aria: 'Quanto mai felici siete' 00:36:19 13. Act I - Scena V - 'Perche tanto tormento' 00:36:35 14. Act I - Scena V - Aria: 'Se un bell'ardire' 00:39:20 15. Act I - Scena VI - 'Olà! Ezio qui venga!' 00:39:45 16. Act I - Scena VI - Aria: 'Se povero il ruscello' 00:46:21 17. Act I - Scena VII - 'Signor!'/'Duce, un momento' 00:48:54 18. Act I - Scena VII - Aria: 'So chi t'accese' 00:52:25 19. Act I - Scena VIII - 'Ezio, volle il germano' 00:53:58 20. Act I - Scena IX - Aria: 'Se fedele mi brama il regnante' 00:57:44 21. Act I - Scena X - 'A Cesare nascondi' 00:59:12 22. Act I - Scena XI - Aria: 'Finche un zeffiro soave' 01:07:57 01. *Act II* - Scena I - Sinfonia 01:09:14 02. Act II - Scena I - 'Qual silenzio e mai questo!' 01:12:53 03. Act II - Scena III - Aria: Vi fida lo sposo' 01:18:00 04. Act II - Scena IV - 'E puoi d'un tuo delitto' 01:19:15 05. Act II - Scena IV - Aria: Va', dal furor portata' 01:22:58 06. Act II - Scena V - 'Che fo? Dove mi volgo?' 01:26:06 07. Act II - Scena VI - Aria: 'Recagli quell' acciaro' 01:30:22 08. Act II - Scena VII - Varo, se amasti mai' 01:31:28 09. Act II - Scena VII - Aria: 'Quel finger affetto' 01:39:18 10. Act II - Scena VIII - 'Folle e colui che al tuo favor si fida' 01:39:56 11. Act II - Scena VIII - Aria: 'Nasce al bosco in rozza cuna' 01:45:34 12. Act II - Scena IX - 'Massimo, anch'io lo veggo' 01:47:22 13. Act II - Scena X - Aria: 'Finche per te mi palpita' 01:51:27 14. Act II - Scena XI - 'Olà! Qui si conduca il prigionieri' 01:55:05 15. Act II - Scena XII - Aria: 'La mia constanza' 02:01:11 16. Act II - Scena XIII - 'Ah, ingrata! Ah, temerario!' 02:02:02 17. Act II - Scena XIV - Aria: 'Ecoo alle mie catene' 02:09:03 01. *Act III* - Scena I - Sinfonia 02:10:38 02. Act III - Scena I - 'Ezio qui venga' 02:12:52 03. Act III - Scena I - Aria: 'Guarda pri se in questa fronte' 02:18:45 04. Act III - Scena II - 'Eh ben, da quel superbo' 02:20:18 05. Act III - Scena II - Aria: 'Peni tu per un'ingrata' 02:24:11 06. Act III - Scena III - 'Olà! Varo si chiami!' 02:27:06 07. Act III - Scena VI - Aria: 'Se la mia vita dono e d'Augusto' 02:36:37 08. Act III - Scena VII - 'Che mai sarà?' 02:39:46 09. Act III - Scena X - Aria: 'Per tutto il timore perigli m'addita' 02:43:31 10. Act III - Scena XI - 'Cara figlia, per te vivo' 02:44:34 11. Act III - Scena XI - Aria: 'Tergi l'ingiuste lagrime' 02:48:17 12. Act III - Scena XII - 'Misera, dove son?' 02:49:12 13. Act III - Scena XII - Aria: 'Ah, non son io che parlo' 02:54:53 14. Act III - Scena XIII - 'Inorridisci, o Roma' 02:55:44 15. Act III - Scena XIII - Aria: 'Già risonar d'intorno' 03:01:11 16. Act III - Scena XIV - 'Ah, traditori!' 03:02:33 17. Act III - Scena ultima - Aria: 'Stringo alfine il mio contento' 03:05:46 18. Act III - Scena ultima - 'E piu bella quella fede'
1/3 Aria di Fulvia "Caro padre" 19:29 ;; 1/10 Aria di Ezio "Se fedele mi brama il regnate" 53:57 ;; 1/12 Aria di Fulvia "Finchè un zeffiro soave" 59:10 ;;;; ATTO SECONDO 1:07:53 2/12 Aria di Fulvia "La mia costanza non si sgomenta" 1:55:05 ;; 2/14 Aria di Ezio "Ecco alle mie catene" ; 2:02:00 ;;;; ATTO TERZO 2:09:02 ;; 3/1 Aria di Ezio "Guarda pria se in questa fronte" 2:12:51 ;; 3/10 Aria di Valentiniano "Per tutto il timore perigli m’addita" 2:39:47 ;; 3/13 Aria di Varo "Già risonar d’intorno" 2:55:45 ;; Scena Ultima, Aria e Coro finale Ezio "Stringo alfine il mio content" 3:02:34 EZIO HWV 29 Dramma per musica in tre atti - Libretto di anonimo, da Pietro Metastasio EZIO: Ann Hallenberg FULVIA: Karina Gauvin VALENTINIANO: Sonia Prina ONORIA: Marianne Andersen MASSIMO: Anicio Zorzi Giustiniani VARO: Vito Priante IL COMPLESSO BAROCCO - ALAN CURTIS (on authentic instruments)
Ja Händel schaffen Periode ist sehr umfangreiche,mir sind alle Opern und seine geistliche Werke sind mir sehr gut bekannt z.B Saul,Jephta und ander Werke von Händel.Herzlichen Danke an alle Mitwirkenden von diesem Konzert,Solisten und Chor plus Diregent.Es Grüßt euch euer Musikliebhaber Joachim Ehlers aus Schallstadt südlich von Freiburg I
WTF is "Aetzi"...yet another arrogant swiss invention to make the buzz ? said I to myself...and of course its "Ezio"...Naturlich ! Again this ridiculous habit of germanizing anything...Should'nt this be somewhat refrained since 1945 , moreover the text is in ITALIAN, so whom the hell rebaptizing this master piece "AETZI" is it serving ?
What a delight which has immediately resulted in me purchasing this. Thank you for posting.
many many thanks for this and for all the others
I am listening to this again for the first time in a while and noting my own comment from a year ago, I add specifically that the soprano at 20mins is ravishing - which is as far as I have got so far.
Great opera. It should be performed more often. Good singers too!
‘Aetsi’ was first perform’d (as ‘EZIO’) on 15 Jan 1732, and receiv’d only 5 performances before the management of the King’s Theatre Covent Garden Opera pull’d it ‘for sparse Attendance of ye Publick at Large’- much to the horror of Handel who up to this time had never produc’d a failure on the stage-especially since George II had attended the first 4 performances with evident satisfaction - perhaps one of the reasons for the opera’s evident dissatisfaction with this opera was the evident lack of concerted numbers (arias & recitativi only, no duetti, no trios or quartets or marches or choruses which might have added to the Roman Empire ambiance etc) but as it stands musically, Ezio is a technical masterpiece with advanc’d dramatic nuance that borders many times on the overt ‘romantic’ (tho’ admittedly quite out of line with Metastasio’s wooden ‘hard-classical’ libretto (one of the reasons perhaps why Handel stop’d setting his libretti from that moment on)…
Since its Goettingen revival in 1926, the opera has thankfully fallen back into public favour with over 300 successful performances through 2021-and at long last has enter’d the permanent Handelian repertoire at annual festivals celebrating thus man’s operatic genius for dramatic expression…
If Handel wish’d to have done, he could have revis’d the original production by adding grand marches, duets, quartets & a few of his grand & illustrious choruses - but he seem’d to have wash’d his hands of Metastasio (having set Siroe Re di Persia & Poro quite successfully in the past)-one imagines Handel himself was taken aback at not only the suddenly unexpected but overt box office failure of Ezio but also was having major issues with his new cast who took some time to acquaint themselves with his idiosyncratic dramatic intentions on his Opera stage - but time had prov’d the intrinsic worth of this magnificent Operatic masterpiece - If only the Great Handel were alive to-day to see to what extent the operatic public has come to lionise his operatic output ! One imagines he is smiling down at us lowly modern mortals from his high musical perch in heaven !
Here is a brief SYNOPSIS of the plot of (‘Aetsi’ = Flavius Aetius = ‘Ezio’, HWV 29, (1732)
Setting, the Western Empire’s Roman Forum in the waning years of the collapse of the Divided (Western) Roman Empire under Emperor Valentinius III … in AD 451
ACT ONE
Ezio is being officially welcom’d back to Rome by the Emperor in an elaborate procession in the Foro Romano, having defeated Carthaginian King Attila-and greets his fiancé Fulvia daughter of the Emperor’s confidante Massimo (who secretly harbours a vendetta against the emperor for the evident flirtation Valentinian had with Massimo’s wife the year before…and wants him dead).
Massimo tells Ezio that whilst he was it fighting the enemy that the Emperor was secretly having an affair with Fulvia (Massimo’s beloved daughter) with the intention to make her Empress & the only thing left to do to save his honour is to kill him-but Ezio is horrified; Massimo then goes to his daughter encouraging her to marry the Emperor then slit his throat on the wedding night but she too refuses to listen to such a plot which leads Massimo to take matters into his own hands & hire Aemilio as a paid assassin…
Meanwhile Onoria, sister of the Emperor, confides in the leader of the praetorian Guard Varo that she loves Ezio & to tell her a little about his character…
Although the Emperor is growing envious of Ezio’s popular fame with the masses he offers Onoria to him-but Ezio refuses stating outloud that he is engag’d to Fulvia-which leads the Emperor to admit his own love for Fulvia & the Wedding is already in the works…
ACT TWO
Outside the Palace. Night. Massimo is seen nervously pacing up and down the stage waiting to hear if Aemilio’s sword had done its work when word reaches him by his daughter Fulvia entering stage right that the Emperor has surviv’d an assasination attempt and that Aemilio has been arrested.
Massimo goes to see if the emperor is indeed still alive and falsely accuses Ezio of the plot. Fulvia knows her father is lying but does not let on nor does she have the heart to denounce Ezio to the emperor as ‘un Traditore’ and tries to get Ezio to flee Rome, but he refuses on the grounds that he is innocent of such a terrible action…and is promptly arrested by the Emperor’s Praetorian Guard.. .
Fulvia then hatches a plan of her own to marry the Emperor and thus to free Ezio and when Ezio is dragg’d in front of the Emperor to name names, Ezio remains tight-lipp’d and is led to a dungeon and put in chains awaiting Trial…
ACT III
Onoria visits Ezio in prison and urges him to name the true assassins but he remains silent not wishing to implicate Massimo…she then goes to her brother telling him that Ezio won’t talk and urges him to convince Fulvia to use her influence with Ezio to spill the beans but when she tries to get something out of him he remains as silent as the grave …
Varo meanwhile officially denounced Ezio as a traitor to Rome and (falsely) tells both Onoria and Fulvia that his head has just been separated from his body …
Aemilio meanwhile is dying under torture in his prison cell and confesses under the rack that Ezio is innocent - Fulvia then sees no way out for him but to confess to the Emperor that Aemilio’s attempt on his life was all her idea-/fueling the Emperor’s growing of paranoia seeing assassins everywhere …
Massimo himself had been gathering around him a band of arm’d rebels who storm the palace arm’d with broadswords but Fulvia throws herself in front of the Emperor to protect him from harm when Varo walks in stage right with Ezio quite alive (and in one piece) and the emperor can see Fulvia & Ezio are truly lovers and that it was wrong of him to keep the pursuing other men’s women and allows their marriage to go forward, freeing him from his chains while Fulvia begs him to pardon her father Massimo for his vendetta & all ends with a joyous celebration …
This present recording aptly catches the Handelian spirit of the original and the performers each do great justice time Handel’s carefully crafted masterpiece of the Baroque Operatic Stage …
is there any copyright issue there ?
Zauberhafte Musik!
00:00:00 01. *Act I* - Ouverture
00:03:19 02. Act I - Scena I - La Marche
00:04:47 03. Act I - Scena I - 'Signor, vincemmo'
00:05:45 04. Act I - Scena I - Aria: 'Se tu la reggi al volo'
00:11:15 05. Act I - Scena II - 'Lascia ch'al sen ti stringa!'
00:13:35 06. Act I - Scena II - Aria: 'Pensa a serbarmi, o cara'
00:17:27 07. Act I - Scena III - 'E tempo, o genitore'
00:19:31 08. Act I - Scena III - Aria: 'Caro padre, a me non dei'
00:25:05 09. Act I - Scena IV - 'Un oltraggiato amore'
00:25:51 10. Act I - Scena IV - Aria: 'Il nocchier che si figura'
00:29:43 11. Act I - Scena V - 'Del vincitor ti chiedo'
00:31:01 12. Act I - Scena V - Aria: 'Quanto mai felici siete'
00:36:19 13. Act I - Scena V - 'Perche tanto tormento'
00:36:35 14. Act I - Scena V - Aria: 'Se un bell'ardire'
00:39:20 15. Act I - Scena VI - 'Olà! Ezio qui venga!'
00:39:45 16. Act I - Scena VI - Aria: 'Se povero il ruscello'
00:46:21 17. Act I - Scena VII - 'Signor!'/'Duce, un momento'
00:48:54 18. Act I - Scena VII - Aria: 'So chi t'accese'
00:52:25 19. Act I - Scena VIII - 'Ezio, volle il germano'
00:53:58 20. Act I - Scena IX - Aria: 'Se fedele mi brama il regnante'
00:57:44 21. Act I - Scena X - 'A Cesare nascondi'
00:59:12 22. Act I - Scena XI - Aria: 'Finche un zeffiro soave'
01:07:57 01. *Act II* - Scena I - Sinfonia
01:09:14 02. Act II - Scena I - 'Qual silenzio e mai questo!'
01:12:53 03. Act II - Scena III - Aria: Vi fida lo sposo'
01:18:00 04. Act II - Scena IV - 'E puoi d'un tuo delitto'
01:19:15 05. Act II - Scena IV - Aria: Va', dal furor portata'
01:22:58 06. Act II - Scena V - 'Che fo? Dove mi volgo?'
01:26:06 07. Act II - Scena VI - Aria: 'Recagli quell' acciaro'
01:30:22 08. Act II - Scena VII - Varo, se amasti mai'
01:31:28 09. Act II - Scena VII - Aria: 'Quel finger affetto'
01:39:18 10. Act II - Scena VIII - 'Folle e colui che al tuo favor si fida'
01:39:56 11. Act II - Scena VIII - Aria: 'Nasce al bosco in rozza cuna'
01:45:34 12. Act II - Scena IX - 'Massimo, anch'io lo veggo'
01:47:22 13. Act II - Scena X - Aria: 'Finche per te mi palpita'
01:51:27 14. Act II - Scena XI - 'Olà! Qui si conduca il prigionieri'
01:55:05 15. Act II - Scena XII - Aria: 'La mia constanza'
02:01:11 16. Act II - Scena XIII - 'Ah, ingrata! Ah, temerario!'
02:02:02 17. Act II - Scena XIV - Aria: 'Ecoo alle mie catene'
02:09:03 01. *Act III* - Scena I - Sinfonia
02:10:38 02. Act III - Scena I - 'Ezio qui venga'
02:12:52 03. Act III - Scena I - Aria: 'Guarda pri se in questa fronte'
02:18:45 04. Act III - Scena II - 'Eh ben, da quel superbo'
02:20:18 05. Act III - Scena II - Aria: 'Peni tu per un'ingrata'
02:24:11 06. Act III - Scena III - 'Olà! Varo si chiami!'
02:27:06 07. Act III - Scena VI - Aria: 'Se la mia vita dono e d'Augusto'
02:36:37 08. Act III - Scena VII - 'Che mai sarà?'
02:39:46 09. Act III - Scena X - Aria: 'Per tutto il timore perigli m'addita'
02:43:31 10. Act III - Scena XI - 'Cara figlia, per te vivo'
02:44:34 11. Act III - Scena XI - Aria: 'Tergi l'ingiuste lagrime'
02:48:17 12. Act III - Scena XII - 'Misera, dove son?'
02:49:12 13. Act III - Scena XII - Aria: 'Ah, non son io che parlo'
02:54:53 14. Act III - Scena XIII - 'Inorridisci, o Roma'
02:55:44 15. Act III - Scena XIII - Aria: 'Già risonar d'intorno'
03:01:11 16. Act III - Scena XIV - 'Ah, traditori!'
03:02:33 17. Act III - Scena ultima - Aria: 'Stringo alfine il mio contento'
03:05:46 18. Act III - Scena ultima - 'E piu bella quella fede'
1/3 Aria di Fulvia "Caro padre" 19:29 ;; 1/10 Aria di Ezio "Se fedele mi brama il regnate" 53:57 ;; 1/12 Aria di Fulvia "Finchè un zeffiro soave" 59:10 ;;;; ATTO SECONDO 1:07:53 2/12 Aria di Fulvia "La mia costanza non si sgomenta" 1:55:05 ;; 2/14 Aria di Ezio "Ecco alle mie catene" ; 2:02:00 ;;;; ATTO TERZO 2:09:02 ;; 3/1 Aria di Ezio "Guarda pria se in questa fronte" 2:12:51 ;; 3/10 Aria di Valentiniano "Per tutto il timore perigli m’addita" 2:39:47 ;; 3/13 Aria di Varo "Già risonar d’intorno" 2:55:45 ;; Scena Ultima, Aria e Coro finale Ezio "Stringo alfine il mio content" 3:02:34 EZIO HWV 29
Dramma per musica in tre atti - Libretto di anonimo, da Pietro Metastasio
EZIO: Ann Hallenberg
FULVIA: Karina Gauvin
VALENTINIANO: Sonia Prina
ONORIA: Marianne Andersen
MASSIMO: Anicio Zorzi Giustiniani
VARO: Vito Priante
IL COMPLESSO BAROCCO - ALAN CURTIS
(on authentic instruments)
I think 2:55:45 is double chorus is it? can i have music sheet for it?
It is actually an aria called "Già risonar d’intorno" from Act 3.
Tres beau mr Handel votre Ezio.....
My favorite part
5:46 19:30 25:51 31:01 36:35 39:45 48:54 53:58 1:12:53 1:19:16 1:26:07 1:31:29 1:39:56 1:55:07 2:12:54 2:20:21 2:27:09 2:39:48 2:44:36 2:51:29 2:55:47 3:02:36 3:05:48
Ja Händel schaffen Periode ist sehr umfangreiche,mir sind alle Opern und seine geistliche Werke sind mir sehr gut bekannt z.B Saul,Jephta und ander Werke von Händel.Herzlichen Danke an alle Mitwirkenden von diesem Konzert,Solisten und Chor plus Diregent.Es Grüßt euch euer Musikliebhaber Joachim Ehlers aus Schallstadt südlich von Freiburg
I
I've never heard of this opera by Handel! And I know all of them! What is it? A new discovery? A pasticcio by some contemporary composer?
You must have heard of his opera EZIO, surely?
WTF is "Aetzi"...yet another arrogant swiss invention to make the buzz ? said I to myself...and of course its "Ezio"...Naturlich ! Again this ridiculous habit of germanizing anything...Should'nt this be somewhat refrained since 1945 , moreover the text is in ITALIAN, so whom the hell rebaptizing this master piece "AETZI" is it serving ?