Speaking in general about Porpora, and in particular his Ariadne, in 1910 the French musicographer Romain Rolland wrote "Histor didn't do him justice. He was fit to compete with Handel, and the comparison between Handel's Ariadne and Porpora's, staged a few weeks apart, is not at all in favor of the former. Handel's music is elegant; but doesn't have the strength of certain arias in Porpora's Ariadne in Naxos. These arias' form has an excessively classical regularity; but powerful inspiration circulates through these Roman temples." The common place of Porpora, a singing teacher ready to subordinate everything to his pupils' voices, must be reflected upon in the light of the vocal writing in these pages: in which belcanto flourishes are generally administered abundantly and in each case almost always justified by musical and expressive reasons and immersed in the character's specific dimension.
4 Arianna in Nasso, Opera: 'L'un Minaccia, L'altra Alletta'
5 Arianna in Nasso, Opera: 'Ahi! Che Langue'
6 Arianna in Nasso, Opera: Scena II
7 Arianna in Nasso, Opera: Aria
8 Arianna in Nasso, Opera: Scena III
9 Arianna in Nasso, Opera: Aria
10 Arianna in Nasso, Opera: Scena IV
11 Arianna in Nasso, Opera: Aria
12 Arianna in Nasso, Opera: Scena V
13 Arianna in Nasso, Opera: Aria
14 Arianna in Nasso, Opera: Scena VI
15 Arianna in Nasso, Opera: Aria
16 Arianna in Nasso, Opera: Scena VII
17 Arianna in Nasso, Opera: Recitativo
18 Arianna in Nasso, Opera: Aria
19 Arianna in Nasso, Opera: Recitativo Dopo L'aria
20 Arianna in Nasso, Opera: Duetto
21 Arianna in Nasso, Opera: Scena I
22 Arianna in Nasso, Opera: Aria
23 Arianna in Nasso, Opera: Scena II
24 Arianna in Nasso, Opera: Aria
25 Arianna in Nasso, Opera: Scena III
26 Arianna in Nasso, Opera: Aria
- Disc 2 -
1 Arianna in Nasso, Opera: Aria
2 Arianna in Nasso, Opera: Scena IV
3 Arianna in Nasso, Opera: Aria
4 Arianna in Nasso, Opera: Recitativo
5 Arianna in Nasso, Opera: Aria
6 Arianna in Nasso, Opera: Scena VI
7 Arianna in Nasso, Opera: Recitativo
8 Arianna in Nasso, Opera: Aria
9 Arianna in Nasso, Opera: Scena I
10 Arianna in Nasso, Opera: Aria
11 Arianna in Nasso, Opera: Scena II
12 Arianna in Nasso, Opera: Aria
13 Arianna in Nasso, Opera: Aria
14 Arianna in Nasso, Opera: Aria
15 Arianna in Nasso, Opera: Scena IV
16 Arianna in Nasso, Opera: Duetto
17 Arianna in Nasso, Opera: Scena V
18 Arianna in Nasso, Opera: Aria
19 Arianna in Nasso, Opera: Coro
Speaking in general about Porpora, and in particular his Ariadne, in 1910 the French musicographer Romain Rolland wrote "Histor didn't do him justice. He was fit to compete with Handel, and the comparison between Handel's Ariadne and Porpora's, staged a few weeks apart, is not at all in favor of the former. Handel's music is elegant; but doesn't have the strength of certain arias in Porpora's Ariadne in Naxos. These arias' form has an excessively classical regularity; but powerful inspiration circulates through these Roman temples." The common place of Porpora, a singing teacher ready to subordinate everything to his pupils' voices, must be reflected upon in the light of the vocal writing in these pages: in which belcanto flourishes are generally administered abundantly and in each case almost always justified by musical and expressive reasons and immersed in the character's specific dimension.