- Alessandro Scarlatti (1660 - 1725): L'Arianna (Ebra d'amor fuggia), H. 242:
- 1L'Arianna (Ebra d'amor fuggia), H. 242: I. Introduzione (Allegrissimo - Allegro) - II. Recitativo "Ebra d'amor fuggia"03:11
- 2L'Arianna (Ebra d'amor fuggia), H. 242: III. Aria "Pur ti stringo o moi diletto"03:02
- 3L'Arianna (Ebra d'amor fuggia), H. 242: IV. Recitativo "Ribaciolla Teseo"01:29
- 4L'Arianna (Ebra d'amor fuggia), H. 242: V. Aria "Stringa si dolce nodo ardente amore"03:20
- 5L'Arianna (Ebra d'amor fuggia), H. 242: VI. Recitativo "Ma poi che desta vide"00:58
- 6L'Arianna (Ebra d'amor fuggia), H. 242: VII. [Aria] "Ingoiatelo"01:31
- 7L'Arianna (Ebra d'amor fuggia), H. 242: VIII. [Accompagnato] "Ah che son con Teseo"01:11
- 8L'Arianna (Ebra d'amor fuggia), H. 242: IX. [Aria] "Struggiti, o core"07:20
- 9L'Arianna (Ebra d'amor fuggia), H. 242: X. [Recitativo - Arioso] "Si disse e tanto pianse"01:15
- George Frideric Handel (1685 - 1759): Ah! Crudel, nel pianto mio, HWV 78:
- 10Ah! Crudel, nel pianto mio, HWV 78: I. Sonata08:18
- 11Ah! Crudel, nel pianto mio, HWV 78: II. Aria "Ah, crudel, nel pianto mio"06:55
- 12Ah! Crudel, nel pianto mio, HWV 78: III. Recitativo "Non sdegnerai d'amar"00:50
- 13Ah! Crudel, nel pianto mio, HWV 78: IV. Aria "Di quel bel che il ciel ti diede"03:59
- 14Ah! Crudel, nel pianto mio, HWV 78: V. Recitativo accompagnato "Balena il cielo"01:58
- 15Ah! Crudel, nel pianto mio, HWV 78: VI. Aria "Per trofei di mia costanza"07:16
- Franz Joseph Haydn (1732 - 1809): Arianna a Naxos, Hob. XXVIb:2:
- 16Arianna a Naxos, Hob. XXVIb:2: I. Recitativo "Teseo moi ben, ove sei?"06:29
- 17Arianna a Naxos, Hob. XXVIb:2: II. Aria "Dove sei, moi bel tesoro"04:50
- 18Arianna a Naxos, Hob. XXVIb:2: III. Recitativo "Ma, a chi parlo?"04:00
- 19Arianna a Naxos, Hob. XXVIb:2: IV. Aria "Ah! che morir vorrei"04:18
Info zu Arianna
After a first album dedicated to Weill, Zemlinsky and Korngold (Alpha272), Kate Lindsey explores here her other repertoire of choice, the music of the eighteenth century. In partnership with Jonathan Cohen and Arcangelo, she has recorded three cantatas focusing on the myth of Ariadne, abandoned on the island of Naxos after helping Theseus kill the Cretan Minotaur by giving him a ball of thread so that he could find his way back through the labyrinth. Alessandro Scarlatti’s Ebra d’amor fuggia (1707) relates Ariadne’s flight, ‘drunk with love’, alongside Theseus, for whom she expresses her tenderness in the magnificent aria ‘Pur ti stringo’. The same year, the young Handel composed his cantata Ah crudel, nel pianto mio, this time with an anonymous abandoned lover as the subject. In 1789, Joseph Haydn also turned to Ariadne, in a cantata for which several orchestrations exist. The one recorded here is by Sigismund Neukomm, Haydn’s pupil between 1797 and 1804. Three faces of disappointed love, brought to passionate life by the mezzo-soprano.
Kate Lindsey, mezzo-soprano
Jonathan Cohen, direction
The 2019/2020 season sees Kate take on some exhilerating new roles in Europe and the USA. As well as starring in the title role of Orlando in Olga Neuwirth’s new production at the Vienna State Opera, and making her role debut as Mélisande in Pelléas et Mélisande at the LA Opera, she will be returning to the Metropolitan Opera for Handel’s Agrippina, and reprising the role of Ariadne in Ariadne auf Naxos in Vienna. She will also be performing concerts with the Berlin Philharmonic and the New York Philharmonic, and recording a new disk with Alpha Classics, for release in 2020.
Ms. Lindsey has already appeared in many of the world’s prestigious opera houses, including the Metropolitan Opera, the Wiener Staatsoper, Royal Opera House Covent Garden, the Bayerische Staatsoper, the Glyndebourne Opera Festival, the Aix-en-Provence Festival, the Théâtre des Champs-Élysées, Santa Fe Opera, Seattle Opera, Los Angeles Opera and Lille Opera. Her repertoire includes Rosina in Il Barbiere di Siviglia, Cherubino in Le nozze di Figaro, Zerlina in Don Giovanni, Idamante in Idomeneo, Sesto in La Clemenza di Tito, Angelina in La Cenerentola, Hansel in Hansel und Gretel, Der Komponist in Ariadne auf Naxos and Nicklausse/The Muse in Les Contes d’Hoffmann. She also created the title role in the premiere of Daron Hagen’s Amelia at the Seattle Opera.
An accomplished concert singer, Ms. Lindsey sang the premiere performances of a new commission by John Harbison with James Levine and the Boston Symphony Orchestra. She has also appeared with the New York Philharmonic, Cleveland Orchestra, Royal Concertgebouw, Orchestre de Paris, St. Louis Symphony Orchestra, Met Chamber Orchestra (in Carnegie Hall), and at the Tanglewood and Mostly Mozart festivals. She has worked with many of the world’s most distinguished conductors including Harry Bicket, James Conlon, Mark Elder, Emmanuelle Haïm, Thomas Hengelbrock, Vladimir Jurowski, Louis Langrée, James Levine, Lorin Maazel, David Robertson, Jérémie Rhorer, and Franz Welser-Möst. In recital, she has been presented by the Metropolitan Museum of Art and Rockefeller University in New York City.
Ms. Lindsey recently starred in the Metropolitan Opera’s HD broadcast of its new production of Les Contes d’Hoffmann. She was also featured in its broadcasts of La Clemenza di Tito and The Magic Flute (which was subsequently released on DVD).
A native of Richmond, Virginia, Ms. Lindsey holds a Bachelor of Music Degree with Distinction from Indiana University and is a graduate of the Metropolitan Opera's Lindemann Young Artist Development Program. Her many awards include a prestigious 2011 grant from the Festival Musique et Vin au Clos Vougeot the 2007 Richard F. Gold Career Grant, the 2007 George London Award in memory of Lloyd Rigler, the 2007 Lincoln Center Martin E. Segal Award, and a 2006 Sullivan Foundation Grant.