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Keiser - Croesus / Röschmann, Trekel, Güra, Häger, Pushee, Jacobs

Average customer rating:

Another 'must buy' for lovers of Baroque opera
Unearthed Gem
A incredible recording. Simply fantastic!
Essential Baroque Opera to Purchase
A little-known but absolutely superb Baroque opera

Keiser - Croesus / Röschmann, Trekel, Güra, Häger, Pushee, Jacobs
Reinhard Keiser , René Jacobs , Dorothea Röschmann , Werner Güra , Akademie für Alte Musik Berlin , RIAS-Kammerchor , Klaus Häger Roman Trekel , Markus Schäfer, Salomé Haller Johannes Mannov , and Graham Pushee, Brigitte Eisenfeld, Kurt Azesberger Kwangchul Youn
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004ZD64
Release Date: 2000-11-14

Tracks:

Sinf Avanti L'opera Croesus - Akademie Fur Alte Musik Berlin/Rene Jacobs
Act I, Scene I. Coro: Croesus Herrsche, Croesus Lebe - RIAS-Kammerchor/Knabensolisten Knabenchor Hannover
Act I, Scene I. Recitativo: Ihr Edlen Lydier - Roman Trekel
Act I, Scene I. Aria: Prangt Die Allerschonste Blume - Roman Trekel
Act I, Scene II. Aria: Hoffe Noch, Gekranktes Herz! - Dorothea Roschmann
Act I, Scene II. Recitativo: Du Weisst, Wie Cyrus' Macht - Dorothea Roschmann
Act I, Scene II. Arietta: Empfinden Gleiche Schmerzen - Dorothea Roschmann
Act I, Scene III. Aria: Lieben, Leiden, Bitten, Flehen - Klaus Hager
Act I, Scene III. Recitativo: Prinz Atis, Wie Dir Ist Bewusst - Dorothea Roschmann
Act I, Scene IV. Aria: Wahre Treu Kann Nicht Auf Erden - Graham Pushee
Act I, Scene V. Aria: Er Erweckt In Meinem Herzen - Dorothea Roschmann
Act I, Scene VI. Recitativo Con Aria: Verliebter Prinz/Sobald Dich Nur Mein Auge Sah - Dorothea Roschmann
Act I, Scene VI. Recitativo: Was Zeigt Der Prinz, Geliebter Knabe? - Dorothea Roschmann
Act I, Scene VI. Aria Con Recitativo: Durch Der Haare Guldne Stricke - Johanna Stojkovic
Act I, Scene VII. Recitativo: Der Konig Will Euch Gerne Sprechen/Duetto: Du Musst Scheiden - Kurt Azesberger/Dorothea Roschmann/Johanna Stojkovic
Act I, Scene VIII. Duetto: Ich Sa Auf Wilde Wellen - Markus Schafer/Klaus Hager
Act I, Scene IX. Duetto: Blindes Feu'r, Das Mich Verzebret/Quartetto: Clerida, Du Haltst Gefangen - Dorothea Roschmann/Salome Haller/Markus Schafer/Klaus Hager
Act I, Scene X. Aria: Traure Nicht/Recitativo: Wo Ich Bei Diesen Fackeln - Dorothea Roschmann/Kurt Azesberger
Act I, Scene X. Recitativo: Orsanes, Musst Du Denn Dem Stummen Atis Weichen - Klaus Hager
Act I, Scene XI. Recitativo Con Aria: Hort, Wie Die Eulen/Liebes-Schmerzen Geschlossener Herzen - Kurt Azesberger
Act I, Scene XII. Recitativo: Darf Cyrus Dann Den Frieden Brechen? - Roman Trekel/Graham Pushee
Act I, Scene XIV. Recitativo: Muss Ich In Meinem Herzen - Klaus Hager
Act I, Scene XIV. Aria: Liebe, Treibst Du Denn Nur Spiel - Salome Haller
Act I, Scene XV. Recitativo Con Aria: Seht, Wie Die Elementschen Affen/Das Blinkern Und Flinkern - Kurt Azesberger
Act I, Scene XV. Chaconne: Ballett Von Harlekinen - Akademie Fur Alte Musik Berlin/Rene Jacobs
Act I, Scene XVI. Aria: Lass Ich Meine Siegenden Waffen Nur Sehen - Johannes Mannov
Act I, Scene XVI. Recitativo: Ihr Helden, Folget Dann - Johannes Mannov
Act I, Scene XVI. Ballet Von Persischen Soldaten - Akademie Fur Alte Musik Berlin/Rene Jacobs
Act I, Scene XVII. Recitativo: Der Perser Schwert Und Pfeile - Roman Trekel
Act I, Scene XVIII. Ritornello Con Aria: So Jauchzet Mein Frohlicher Mut! - Johannes Mannov
Act I, Scene XVIII. Recitativo: Hier Ist Die Reichste Beute - Jorg Gottschick

Tracks:

Act II, Scene I. Ritornello - Akademie Fur Alte Musik Berlin/Rene Jacobs
Act II, Scene I. Duetto: Kleine Voglein, Die Ihr Springet - RIAS-Kammerchor/Knabensolisten Knabenchor Hannover
Act II, Scene II. Recitativo: Orsanes Treulos? - Werner Gura
Act II, Scene III. Recitativo: Seht, Wie Herr Elcius Ist Ein Politicus... - Kurt Azesberger
Act II, Scene III. Ballett Von Bauren Und Bauren-Kindern - Akademie Fur Alte Musik Berlin/Rene Jacobs
Act II, Scene IV. Duetto: Freundliche Liebe, Wie Freust Du Mein Herz! - Dorothea Roschmann/Salome Haller
Act II, Scene V. Recitativo: Kann Meine Treu Orsanen Nicht Bewegen?... - Salome Haller/Klaus Hager
Act II, Scene V. Aria: Ihr Stummen Fische Seid Dem Gleich - Dorothea Roschmann
Act II, Scene V. Recitativo: Du Stellest Dich, Als Horest Du Nicht - Klaus Hager
Act II, Scene V. Aria: Soll Dann So Grosser Hohn - Salome Haller
Act II, Scene VI. Recitativo: Sobald Ich Werd' Erholt Zu Dieser Wurde - Markus Schafer
Act II, Scene VI. Duetto: Die Regierungslast Zu Tragen/Chor: Waffen, Hilfe, Hilfe, Waffen! - Markus Schafer/Klaus Hager
Act II, Scene VII. Recitativo: Wir Sind Verlor 'N! - Graham Pushee
Act II, Scene VIII. Recitativo: Holdseligste Elmir - Graham Pushee
Act II, Scene VIII. Aria: Liebe, Sag', Was Fangst Du An? - Dorothea Roschmann
Act II, Scene IX. Recitativo: Hier Bring Ich Atis' Ebenbild - Graham Pushee
Act II, Scene IX. Aria: Alle Freude Leicht Verstiebet - Werner Gura
Act II, Scene X. Recitativo: Was Seh Ich! - Klaus Hager
Act II, Scene XI. Aria: Ich Lieb' Und Bin Geliebet - Dorothea Roschmann
Act II, Scene XI. Recitativo: Prinzessin, Darf Ein Sklav' - Werner Gura
Act II, Scene XI. Aria: Ist Niemand Bewusst - Werner Gura
Act II, Scene XI. Recitativo: Wie! Darfst Du Nochmals Solche Reden Wagen? - Dorothea Roschmann
Act II, Scene XI. Aria: Mir Gefallt In Seinem Munde - Dorothea Roschmann
Act II, Scene XII. Recitativo: Hor' Dann, Dies Ist Der Dienst - Klaus Hager
Act II, Scene XIII. Recitativo Con Aria: Brill, Brill Feder Und Tinte/Kommt Ihr Herren... - Kurt Azesberger
Act II, Scene XIV. Aria: Niemand Kann Aus Diesen Ketten - Roman Trekel
Act II, Scene XIV. Recitativo: Knie Nieder, Und Wirf Dich Zur Erden - Johannes Mannov
Act II, Scene XIV. Aria: Ihr Tapfern Soldaten, Frohlocket Nun Wieder - Johannes Mannov
Act II, Scene XIV. Entree, Passepied Der Feuerwerker - Akademie Fur Alte Musik Berlin/Rene Jacobs

Tracks:

Act III, Scene I. Aria: Die Flamme Steigt - Klaus Hager
Act III, Scene I. Recitativo: Find' Ich Orsan So Fruh/Act III, Scene II. Aria... - Markus Schafer/Graham Pushee
Act III, Scene II. Recitativo: Ermin, Wie Ist Es Abgegangen? - Klaus Hager
Act III, Scene III. Recitativo: Der Himmel Sei Gepreist/Aria: Fuhlst Du Noch Der Liebe Kerzen - Dorothea Roschmann
Act III, Scene III. Recitativo: Schonstes Kind, Du Irrest Dich - Klaus Hager
Act III, Scene IV. Recitativo: Der Abgesandte Bringt Vom Feinde - Markus Schafer
Act III, Scene IV. Aria: Waffnet, Was Kann Waffen Tragen - Markus Schafer
Act III, Scene V. Aria: Elmir! Wo Bleibest Du? - Werner Gura
Act III, Scene V. Recitativo: Prinzessin! - Werner Gura
Act III, Scene V. Aria: Mich Vergnuget Dieses Hohnen - Werner Gura
Act III, Scene VI. Recitativo: Unsinniger, Find Ich Dich Hier? - Klaus Hager
Act III, Scene VI. Recitativo: Mich Ungluckseligen!/Aria: Wertes Gluck, Verlass Mich Nicht! - Klaus Hager
Act III, Scene VII. Ritornello Con Aria: Soll Des Goldes Glanz Recht Glimmen - Werner Gura
Act III, Scene VII. Recitativo: Prinzessin! - Werner Gura/Dorothea Roschmann
Act III, Scene VII. Aria: Sollte Der Mich Herzlich Lieben - Dorothea Roschmann
Act III, Scene VIII. Arietta: Zarte Jungfern - Brigitte Eisenfeld
Act III, Scene VIII. Recitativo: Hier, Wey Je Nich Dat Neye Lied - Kurt Azesberger
Act III, Scene VIII. Aria: Schmink', Ein Kleinod Dieser Zeit/Recitativo: Hier Hab Ich Schnupftobak - Kurt Azesberger
Act III, Scene IX. Duetto: Nein, Nein, Nun Will Ich Nicht Mehr Lieben - Salome Haller/Dorothea Roschmann
Act III, Scene X. Recitativo: Prinz, Weisst Du, Dass Ermin Mit Mir Von Liebe Spricht? - Dorothea Roschmann
Act III, Scene X. Aria: Dieses Schmahen, Das Ich Leide - Werner Gura
Act III, Scene XII. Aria: Gotter, Ubt Barmherzigkeit! - Roman Trekel
Act III, Scene XIII. Recitativo: Fort, Fuhrt Ihn Auf Den Scheiterhaufen! - Johannes Mannov
Act III, Scene XIII. Recitativo: Umsonst, Macht Neues Feuer - Johannes Mannov
Act III, Scene XIII. Aria: Solon, Weiser Solon - Roman Trekel
Act III, Scene XIII. Recitativo: Welch Eine Gottheit Ruft Er An? - Johannes Mannov/Kwangchul Youn
Act III, Scene XIII. Gluckliche Stunden, Erfreulicher Tag - RIAS-Kammerchor/Knabensolisten Knabenchor Hannover

Amazon.com

Is another baroque opera--in this case by composer Reinhard Keiser (1674-1739)--really worth hearing in its entirety? After a completely conventional overture, the opening scene pits the legendarily rich king of Lydia, the titular Croesus (who incidentally lived in the fifth century B.C.), against the Athenian philosopher and lawgiver Solon. On account of his immeasurable wealth, the complacent Croesus believes himself to be completely secure and unassailable; Solon mocks his riches and points out how ephemeral all earthly goods are. This exchange of words via recitative is perfectly built up--both as a composition and as performed here. From his very first notes, Roman Trekel's Croesus carries conviction, while Kwangchul Youn (a role originally intended for tenor but justifiably and effectively transcribed by conductor René Jacobs for bass) is no less impressive.

From the opening scene, your attention immediately perks up. And the opera's ability to astonish has only just begun: the audacity of Croesus and his inevitable defeat by the Persians form only the framework around the plot. What ensues is a tragicomic chain of love affairs (not to worry: the compendious booklet includes an essay by Jacobs with an elegant little flow chart that instantly clarifies everything!), in the center of which stand Croesus's initially mute son Atis--who suddenly learns to speak during the war--and the Princess Elmira. The brilliant appearance and impression that Atis (sung by Werner Güra) makes are mirrored in Elmira's ecstatically raving arias, which are full of character and technically flawless in Dorothea Röschmann's delivery. You immediately believe you can even hear Atis's answers in the pauses that are interspersed throughout Elmira's song.

Such masterful musical accomplishments come in spades in this decidedly enjoyable and interesting work, which by the way also illuminates a bit of German opera history between 1678 and 1738 in Hamburg. This was the period when a form mixing serious and comic elements emerged as an effective, original counterpart to the Italian genre of opera seria. René Jacobs and his excellent ensemble--among the singers there's hardly a weak link--bring the baroque sense of beauty to life with stupendous vocal and instrumental brilliance.

--Michael Wersin

Customer Reviews:

Another 'must buy' for lovers of Baroque opera.......2007-07-15

With "Croesus" Renè Jacobs creates another masterful and delightful recording of an important Baroque opera, written by a wonderful but now forgotten composer. Reinhard Keiser directed and composed for the influential Hamburg public opera house from 1696 until 1707, and in his career is credited with writing about 80 operas, most of which are now lost. "Croesus" was one of his most influential and popular works. It was from Keiser that Handel got his chance to make a big splash with his first Italian opera ("Almira") in Hamburg, and after hearing this recording listeners will immediately detect the tremendous influence that Keiser had on the young Saxon. (Handel later borrowed many Keiser melodies and ideas for his own works). While the recitatives and arias are sung in German, the numerous arias, duets and ensembles (forty-four on 3 discs!) are a rich fusion of the Italian da capo style with the German preference for drama over vocal fireworks. Several arias are accompanied by horns as well as strings and woodwinds, a device Handel would later use to great effect in operas like "Rinaldo" and "Radamisto." Listeners will understand why Christopher Hogwood, in his 1984 biography of Handel, described Keiser as the "most gifted opera composer in Germany" because of his "sensitive flow of drama." Unlike operas in the Italian style, Keiser's music and arias are much more firmly matched to the action, and the arias emphasize feeling and emotion over vocal agility. The arias themselves are quite beautiful and melodic, and vary in length between a minute and a half and five or so minutes. Thankfully, the recording engineers separated the recitatives and arias on different tracks so that you can hear only the arias if you wish. Modern listeners who are put-off by Baroque opera because of counter-tenors in the leading roles and wild vocal improvisations will find much more to like in this recording. The male lead character is a baritone (sung by Roman Trekel), and Dorothea Roschmann sings the female lead ("Elmira") with deep and loving sensitivity... both singers are allowed to shine under Jacob's masterful direction. There is only one counter-tenor role: it is sung by the veteran Graham Pushee, and his voice fits well within Keiser's dramatic emphasis. There are numerous tenor, soprano, and baritone roles in the opera as well, all sung by gifted artists. There is not one weak or irritating voice in the lot! Another sparkling gem on this recording is the incidental music: the exciting overture (lots or horns and timpani here!), several ballets (the ballet of the soldiers is especially nice), and the use of almost modern-like use of the orchestra to provide sounds effects for the action. The opening of the second act features birds singing outside of a peasant hut, which are then slowly and gradually joined by the violins and recorders accompanying their songs, followed by a charming duet sung by a peasant woman and her husband which builds upon the previous melodies. Highly recommended, and a fantastic addition to anyone's collection!

Unearthed Gem.......2007-01-11

I am a lover of Baroque Opera, particularly from the Italian School. If Keiser's opera wasn't sung in German, I would swear that I was listening to an 18th Century Italian Opera. The singers are uniformally wonderful and most of the arias are tuneful and catchy. A few of the arias are real standouts, and some of the orchestration is quite advanced for the period.

Although I would not include this work as one of my all time favorites, it is definitely worth hearing!

A incredible recording. Simply fantastic!.......2006-09-13

From time to time, René Jacobs seems to outdo himself and he brings a work so vividly to life that the result is simply awesome. He did it with Monteverdi's Il ritorno d'Ulisse in Patria, Telemann's Orpheus, Cavalli's La Calisto and Giasone, Handel's Flavio and Rinaldo and Mozart's Le Nozze di Figaro. Of course, many will be only too aware of the fact that René Jacobs is an inveterate fiddler and meddler with scores and, yes, there has been some invasion of Keiser's score here. However, the results are so impressive that these "muck abouts" are hardly worth commenting upon.

The cast of this recording is first class: Dorothea Röschmann, Werner Güra and Roman Trekel shine in particular, but all the cast is strong. Nice to see the famous Australian countertenor, Graham Pushee, in the cast, too. The RIAS-Kammerchor and the Akademie für Alte Musik Berlin make great noises. The period instrument orchestra is radiant throughout this recording. Keiser was a first class composer and I only hope more conductors are tempted to record his music in future. I can understand why Handel plundered and plagiarised Reinhard Keiser's music so often and so shamelessly.

This is a perfect recording of a Baroque opera. If you have any interest in Baroque opera at all, please consider this marvellous recording.

Just one word about the cover. We see a beautiful colour photograph from the stage production of this work. The whole package is excellent, apart from HARMONIA MUNDI's pointless "blurb" (a quote from a review) on the back cover, and this is how music like this should be presented.

Essential Baroque Opera to Purchase.......2006-05-05

This is my first exposure to the music of Reinhard Keiser and I am impressed. I love Baroque opera, Handel and Vivaldi in particular, and if you do too you owe it to yourself to purchase this very reasonably priced example of exquisite and heartfelt music. Though the arias tend to be brief the music is so infectious that you hardly care. Since most operas are in Italian it's also nice to hear the German language sung as a welcome change of pace. And the singing is top-notch. The conductor Rene Jacobs seems to turn everything he touches into gold and this opera is no exception. If you're a fan of Baroque vocal music purchase this set of three CDs NOW!

A little-known but absolutely superb Baroque opera.......2004-08-31

I am in total agreement with reviewer Holmes' review. It is a pity that following Keiser's death in 1739 almost all of his work was lost. I purchased this work because I had read somewhere that Keiser was Handel's teacher, and this work was produced by Rene Jacobs. Therefore I knew it would be a hit. This is superb music sung by absolutely great singers including one of my very favorites, Dorothea Roschmann. Anyone who is a lover of Baroque opera should have this work in his or her collection.