How interesting that it was set as a hymn in the Victorian era. I was at a funeral recently and the organist played "Ombra Mai Fu" before the ceremony.
I appreciate this background so much! I had no clue as to why Serse was singing such a lovely aria to a tree, lol! I missed the humorous aspect which makes this opera even more enjoyable. Thank you!
Thanks a lot for the background. I love Lucia Popp's version. I too thought it was part of Handel's sacred music. Too now see it was a facetious joke for his audience, is really funny and makes me more appreciative of his art. Well Done.
My favorite singers of ”Ombra Mai Fu” are near polar opposites: Andreas Scholl and Dmitri Hvorostovsky. I really appreciate this lesson and book recommendation
While I've loved Handel for years, I first remember hearing this aria in the soundtrack to Dangerous Liaisons, and it became a favorite (the scene between Glenn Close, Michelle Pheiffer, and John Malkovich where it is performed is fantastic). It was only in the last year that I got around to looking up the words, and ended up laughing. Cecelia Bartoli does a great version, though as you say, it is still silly, despite the sublime music.
Thank you for this nice video! I have just recently heard a version of "Ombra mai fu", but to my surprise it was not Händel's, but by a composer named Giuseppe Bononcini - do you know his version too and if yes, what do you think of it? I listened to a recording by the german soprano Simone Kermes and Le Musiche Nove.
@@DavesClassicalGuide Thank you for your answer! I have been watching some of your videos recently and I like them very much - one question: (since you are often talking about very different recordings and interpretations of major works): I often experience that the "first" recording I ever heard of one particular work somehow gets "stuck" and I like it better than others (which happens especially if I first heard something in my youth), even though somehow "semi-objectively" I can, later on, point to its weaknesses in comparison to other recordings. Do you experience that too and if yes, do you try to "convince yourself (or your ears)" otherwise in these cases? Thanks.
@@timotheuspeter734 That's a very good question. I think it's natural to retain an affection for the "imprint" version of our first encounter, but with me I try to make sure that even if I don't ever lose that sense of enjoyment it doesn't interfere with my ability to enjoy and appreciate other versions, some of which may well be better in various ways. There's a difference between a personal preference, after all, and learning to recognize quality work in a more objective sense, which comes with experience.
I played this opera in college. I agree, there is some great music in it and it helped that I had an amazing conductor, but on the whole I found it to be a 3+ hour talent show of da capo arias.
How interesting that it was set as a hymn in the Victorian era. I was at a funeral recently and the organist played "Ombra Mai Fu" before the ceremony.
I appreciate this background so much! I had no clue as to why Serse was singing such a lovely aria to a tree, lol! I missed the humorous aspect which makes this opera even more enjoyable. Thank you!
Nice! That was both informative and entertaining.
Thank you!
Thanks a lot for the background. I love Lucia Popp's version. I too thought it was part of Handel's sacred music. Too now see it was a facetious joke for his audience, is really funny and makes me more appreciative of his art. Well Done.
Herodotus tells a story about Xerxes admiring a plane tree, so it seems some people in ancient time believed it.
My favorite singers of ”Ombra Mai Fu” are near polar opposites: Andreas Scholl and Dmitri Hvorostovsky. I really appreciate this lesson and book recommendation
Mine too!!
I have the piano sheet music for this edited b Carl Deis and was just revisiting it yesterday.
While I've loved Handel for years, I first remember hearing this aria in the soundtrack to Dangerous Liaisons, and it became a favorite (the scene between Glenn Close, Michelle Pheiffer, and John Malkovich where it is performed is fantastic). It was only in the last year that I got around to looking up the words, and ended up laughing. Cecelia Bartoli does a great version, though as you say, it is still silly, despite the sublime music.
No, it's silly BECAUSE of the sublime music!
Thank you for this nice video!
I have just recently heard a version of "Ombra mai fu", but to my surprise it was not Händel's, but by a composer named Giuseppe Bononcini - do you know his version too and if yes, what do you think of it? I listened to a recording by the german soprano Simone Kermes and Le Musiche Nove.
I do know it. Pretty and not as good as Handel's. Thanks for mentioning it.
@@DavesClassicalGuide Thank you for your answer!
I have been watching some of your videos recently and I like them very much - one question: (since you are often talking about very different recordings and interpretations of major works): I often experience that the "first" recording I ever heard of one particular work somehow gets "stuck" and I like it better than others (which happens especially if I first heard something in my youth), even though somehow "semi-objectively" I can, later on, point to its weaknesses in comparison to other recordings. Do you experience that too and if yes, do you try to "convince yourself (or your ears)" otherwise in these cases? Thanks.
@@timotheuspeter734 That's a very good question. I think it's natural to retain an affection for the "imprint" version of our first encounter, but with me I try to make sure that even if I don't ever lose that sense of enjoyment it doesn't interfere with my ability to enjoy and appreciate other versions, some of which may well be better in various ways. There's a difference between a personal preference, after all, and learning to recognize quality work in a more objective sense, which comes with experience.
@@DavesClassicalGuide Great answer - thanks.
I played this opera in college. I agree, there is some great music in it and it helped that I had an amazing conductor, but on the whole I found it to be a 3+ hour talent show of da capo arias.
Actually it is much more varied than that.
@@DavesClassicalGuide that was my young impression of it anyways