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HAYDN: Ritorno di Tobia (Il)

Composer(s):Haydn, Franz Joseph
Artist(s)
Period(s) Classical (1750-1830)
Genre Classical Music
Category Choral - Sacred
Catalogue 8.570300-02
Label Naxos
Quality   320kbps
 
 
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8.570300-02
 


Although Haydn’s place in the history of the oratorio has been secured by his great vocal masterpieces The Creation (Naxos 8.557380-81) and The Seasons (8.557600-01), his first oratorio, Il ritorno di Tobia (The Return of Tobias), is among the better-kept secrets of music history. The Italian libretto deals with the return of Tobias and the curing of his blind father, an exceptionally popular story in eighteenth century Vienna. With its vivid portrayal of the protagonists’ emotional turmoil, achieved largely through wide-ranging arias of great virtuosity, Il ritorno di Tobia is a work of considerable beauty and dramatic impact. This recording includes the two magnificent choruses Ah gran Dio! and Svanisce in un momento written

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Review By Penguin Guide,January 2009

Written in 1775, Haydn’s oratorio, Il ritorno di Tobia, tells the story of Tobias and the Angel from the Apocrypha. In the title-role Anders Dahlin sings with a pleasant, clear tenor, and the bright soprano Roberta Invernizzi takes the role of the Angel, Rafael. In this German radio recording Andreas Spering is the lively conductor with the Cologne Vocal Ensemble and the Capella Augustina. Well-balanced sound. Not a great work by very enjoyable.



Review By ,Le Monde de la Musique,June 2008


8.570300-02_Le_Monde_de_La_Musique_062008_fr.pdf


Review By ,Scherzo,April 2008


8.570300-02_Scherzo_04-2008_sp.pdf


Review By ,www.codexflores.ch,February 2008

Haydns drittes (eigentlich erstes) Oratorium «Il ritorno di Tobia» ist im Gegensatz zu den beiden Publikumslieblingen «Schöpfung» und «Jahreszeiten» in den letzten Jahrhunderten fast völlig untergegangen. Dafür dürfte eine Verkettung ungünstiger Umstände verantwortlich sein: Zum einen ist die biblische Geschichte des Tobias, der aus der Fremde zurückkehrt und seines Vaters Blindheit heilt, heute kaum mehr ein Stoff, der Oratorienliebhaber anzieht. (…)

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Review By Ekkehard Pluta,Klassik heute,February 2008

(…) Andreas Spering, Barock-Experte und bekennender Haydn-Verehrer, hat sich bei dieser ersten Einspielung auf Originalinstrumenten mit Bedacht an die Urfassung gehalten, die er allerdings um zwei neu geschriebene, starke Chöre aus der späteren Version ergänzte. Seine Interpretation hat weit mehr als philologische Bedeutung, denn die Capella Augustina findet unter seiner Leitung zu einem funkensprühenden, gelegentlich elektrisierenden, auch in den stilleren Passagen eloquenten Musizieren, das allen Archivstaub von der Partitur wegpustet.(…)




Review By David Denton, Naxos,November 2007

Haydn’s first oratorio, Il ritorno di Tobia, never quite makes up its mind as to whether it should have been an opera, and I guess with an inventive producer it could well be staged, the score so full of immediately likable arias, many with a display of vocal virtuosity. Haydn was already forty-three when it was introduced to Vienna in 1775 to considerable acclaim, and in 1784 he added  - among the changes - two further choruses of merit. Both are included in this recording which otherwise uses the original score. It’s date of composition is highly significant as it comes in the middle of a period when Haydn was composing operas, and it is equally significant that it was another twenty years before he returned to oratorio. The story is slight, much of the

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