Georg Philipp Telemann: Sieg der Schönheit Teuscher, Im, Renard, Köninger, Wey, Obst, Henschel, Pantelić, Akademie für Alte Musik Berlin & Michael Hofstetter

• 1 Telemann: Act I - 1. Ouverture 03:13
• 2 Telemann: Act I - 2. Gigue 01:17
• 3 Telemann: Act I, Scene I: 3. Chorus (Chor der Belagerer / Chor der Belagerten): Drauf, ihr tapferen Helden – Oh Himmel! 01:29
• 4 Telemann: Act I, Scene I: 4. Battaglia 00:33
• 5 Telemann: Act I, Scene II: 5. Marche 00:57
• 6 Telemann: Act I, Scene II: 6. Chorus: Herrscher der Völker! mächtigster Held! 00:32
• 7 Telemann: Act I, Scene III: 7. Recitative (Helmiges, Gensericus, Trasimundus): Der Sieg ist schon vollkommen ausgeführt 01:28
• 8 Telemann: Act I, Scene III: 8. Aria (Gensericus): Wie schön ist die entbrannte Glut 02:51
• 9 Telemann: Act I, Scene IV: 9. Recitative (Helmiges, Honoricus, Turpino): Du eilest nicht, o Prinz! 01:23
• 10 Telemann: Act I, Scene IV: 10. Aria (Honoricus): Sage, mein Herze, willst du dich ergeben? 03:03
• 11 Telemann: Act I, Scene V: 11. Recitative (Helmiges): Mein Siegen bringet mich in Sklaverei 00:28
• 12 Telemann: Act I, Scene V: 12. Aria (Helmiges): Ich rühme meine Wunden 04:21
• 13 Telemann: Act I, Scene VI: 13. Arioso & Recitative (Turpino): So gar nach keinem Mädgen fragen 00:54
• 14 Telemann: Act I, Scene VI: 14a. Aria (Turpino): Die Schöne soll bei Sonnenschein – 14b. Ritornello – 14c. Recitative (Turpino): Doch was? Mich dünkt 01:14
• 15 Telemann: Act I, Scene VII: 15. Recitative (Helmiges, Olybrius): Nun sollst du sterben 01:20
• 16 Telemann: Act I, Scene VII: 16. Aria (Helmiges): Darf ich nicht lieben 04:05
• 17 Telemann: Act I, Scene VIII: 17. Accompagnato (Olybrius): Verhängnis, ach! 01:43
• 18 Telemann: Act I, Scene VIII: 18. Aria (Olybrius): Placidia! mein schönstes Kind! 03:07
• 19 Telemann: Act I, Scene IX: 19. Recitative (Eudoxia, Pulcheria, Placidia, Melite, Helmiges, Gensericus, Trasimundus): O Wunderglanz! – Scene X: 20. Recitative (Gensericus, Eudoxia): Vortrefflichste! lass nach den Kriegesblitzen 03:15
• 20 Telemann: Act I, Scene IX: 21. Aria a 2 (Gensericus, Eudoxia): Eile doch! – Nur gemach! – Scene XI: 22. Recitative (Eudoxia, Pulcheria, Placidia): Wie? soll ich nun den Sieg 04:36
• 21 Telemann: Act I, Scene XI: 23. Aria (Eudoxia): Liebe, nein, ich werde dir 03:22
• 22 Telemann: Act I, Scene XII: 24. Recitative (Placidia): Gebt Rat, ihr zweifelhaften Sinnen! 00:55
• 23 Telemann: Act I, Scene XII: 25. Aria (Placidia): Deiner Wangen Milch und Blut 04:05
• 24 Telemann: Act I, Scene XIII: 26. Aria (Pulcheria): Wenn Lieben Irren heißt 01:16
• 25 Telemann: Act I, Scene XIII: 27. Recitative (Melite, Pulcheria): So liebest du? 00:54
• 26 Telemann: Act I, Scene XIII: 28. Aria (Pulcheria): In der Liebe muss man wagen 04:38
• 27 Telemann: Act I, Scene XIV: 29. Recitative (Turpino): Sieh da! was will sich dort erheben? – 30. Aria & Recitative (Melite, Turpino): Kommet, ihr gewünschten Stunden – 31. Recitative (Turpino, Melite): Du liebes Ding, was ist es dann 02:55
• 28 Telemann: Act I, Scene XIV: 32a. Aria (Turpino): Torheit, Torheit übern Haufen – 32b. Ballet (Entrée des Amoureuses et des Amoureux) 01:16
• 29 Telemann: Act II, Scene I: 34. Recitative (Olybrius): Ach! Dort erscheint mein Freudenstern 00:22
• 30 Telemann: Act II, Scene II: 35. Aria a 2 (Placidia, Olybrius): Lass meinen Arm sich um dich schlingen! 03:30
• 31 Telemann: Act II, Scene II: 36. Recitative (Olybrius, Placidia, Melite, Helmiges): O Himmel! – Was begegnet dir? 01:00
• 32 Telemann: Act II, Scene II: 37. Aria (Placidia): Ich will dich verfolgen 05:08
• 33 Telemann: Act II, Scene III: 38. Recitative (Helmiges, Melite): Dieweil Olybrius Placidien verhasst – Scene IV: 39. Recitative (Helmiges): Wo hast du mich, o Schickung, hingebracht? 01:43
• 34 Telemann: Act II, Scene III: 40. Aria (Helmiges): Gebet Rat, ihr geneigten Sterne 03:28
• 35 Telemann: Act II, Scene V: 41. Recitative (Honoricus, Helmiges): Getreuer Freund! betrachte diese Not 00:52
• 36 Telemann: Act II, Scene V: 42. Aria a 2: (Helmiges, Honoricus) : Ändre deinen kalten Sinn – Nein, ich bleibe – 43. Recitative (Helmiges, Honoricus): Kann Liebe nicht, lass dich den Staat verbinden! 03:43
• 37 Telemann: Act II, Scene VI: 45. Recitative (Pulcheria, Honoricus): Durchlauchtigster! darf ein geringer Knecht 01:59
• 38 Telemann: Act II, Scene VII: 46. Arioso (Pulcheria): Mich soll dein Herz umfassen? 01:03
• 39 Telemann: Act II, Scene VII: 47. Aria (Pulcheria): Komm, du Zucker aller Schmerzen! 03:38
• 40 Telemann: Act II, Scene IX: 49. Recitative (Eudoxia, Placidia): Gib Rat, was fang ich an 01:01
• 41 Telemann: Act II, Scene X: 50. Recitative (Trasimundus, Eudoxia): Wann Rom auf diesem Kreis der Welt 01:04
• 42 Telemann: Act II, Scene X: 51. Aria (Eudoxia): Schmeichelt gleich Amor mit Purpur und Kronen 04:35
• 43 Telemann: Act II, Scene X: 52. Recitative (Eudoxia, Trasimundus): Doch, dass man mich nicht unbescheiden nenne 00:24
• 44 Telemann: Act II, Scene XI: 53. Recitative (Placidia, Trasimundus, Melite): Mein Trasimund! 01:10
• 45 Telemann: Act II, Scene XII: 56a. Aria a 2 (Trasimundus, Melite): Schönheit ist nur Fantasei – 56b. Ritornello 02:08
• 46 Telemann: Act II, Scene XIII: 58. Recitative e Arioso (Turpino): Nur hurtig fort! 00:57
• 47 Telemann: Act II, Scene XIII: 59a. Aria (Turpino): Der ist recht glücklich in der Welt – 59b. Entrée der Mägde und Knechte 01:00
• 48 Telemann: Act II, Scene XIV: 60b. Recitative (Placidia, Olybrius): Sieh da, Treuloser 01:09
• 49 Telemann: Act II, Scene XIV: 61. Aria a 2 (Placidia, Olybrius): Brünstige Triebe – Scene XV: 62. Recitative (Olybrius, Placidia): Doch wo gedenk ich hin! 02:13
• 50 Telemann: Act II, Scene XVII: 64. Recitative (Gensericus, Trasimundus, Olybrius, Helmiges): Auf, Trasimund! nimm die verwegnen beiden 00:57
• 51 Telemann: Act II, Scene XVII: 65. Aria (Gensericus): Ein Fürst muss donnern und auch küssen 02:20
• 52 Telemann: Act II, Scene XIX: 68. Recitative (Eudoxia, Gensericus): Es scheint, der Himmel hatʼs 69. Aria a 2 (Eudoxia, Gensericus): Ihr sternenreinen Triebe 02:08
• 53 Telemann: Act II, Scene XIX: 70. Ballet: Entrée des Sept Planètes 03:22
• 54 Telemann: Act II, Scene XIX: 71. Chorus: Lauter Zufriedenheit, Wohlsein und Glücke 00:56
• 55 Telemann: Act III, Scene I: 72. Recitative (Honoricus, Pulcheria): Sieh da, Formosus, bist du hier? 02:13
• 56 Telemann: Act III, Scene II: 74. Aria (Honoricus): Lass in Augen Feuer blitzen 02:41
• 57 Telemann: Act III, Scene II: 75. Recitative (Honoricus): Mein Herr! wann ich euch durfte raten 00:51
• 58 Telemann: Act III, Scene II: 76a. Aria (Turpino): Zum ersten, wer bei dieser Zeit – 76b. Recitative (Turpino): Der König kommt 04:42
• 59 Telemann: Act III, Scene III: 77. Recitative (Gensericus, Honoricus): Mein Sohn! ich mache dir bewusst 00:39
• 60 Telemann: Act III, Scene III: 78. Aria (Gensericus): Gar zu langes Überlegen – 79. Recitative (Gensericus): Der Zwang bringt mich in Sterbensnot 01:04
• 61 Telemann: Act III, Scene IV: 80. Recitative (Gensericus, Trasimundus, Turpino): Großmächtigster! geht deine Güte – Scene V: 81. Recitative (Placidia, Melite): Nun soll mein Herz sich an der Rach ergetzen 01:20
• 62 Telemann: Act III, Scene VI: 82. Accompagnato (Olybrius): O bittre Seelennot 02:33
• 63 Telemann: Act III, Scene VI: 83. Aria (Olybrius): Schönste, lass dein Angedenken 04:17
• 64 Telemann: Act III, Scene VII: 84. Recitative (Olybrius): Ach klage nicht! 00:19
• 65 Telemann: Act III, Scene VII: 85. Aria (Helmiges): Ach! da stirbt sichʼs wunderschön 02:44
• 66 Telemann: Act III, Scene VII: 86. Recitative (Helmiges): Ich sterbe, doch ohn ihre Gunst – Scene VIII: 87. Recitative (Placidia, Helmiges, Olybrius, Melite, Trasimundus): Auf, Helmiges, nimm deine Freiheit an! 03:17
• 67 Telemann: Act III, Scene VIII: 88. Accompagnato (Olybrius): Placidia, nun gute Nacht! 00:57
• 68 Telemann: Act III, Scene VIII: 89. Aria (Olybrius, Placidia): Komm, angenehmer Tod! 02:02
• 69 Telemann: Act III, Scene VIII: 90. Recitative (Olybrius, Placidia): Ich sterb … 00:55
• 70 Telemann: Act III, Scene IX: 91. Recitative (Eudoxia, Gensericus, Helmiges, Olybrius, Placidia, Melite): Ist dies der Tod 00:57
• 71 Telemann: Act III, Scene IX: 92. Chorus: Zuletzt muss doch nach trüber Nacht 01:24
• 72 Telemann: Act III, Scene X: 94. Recitative (Honoricus): Unglücklicher, du liebst zum ersten Mal 00:25
• 73 Telemann: Act III, Scene X: 95. Aria (Honoricus): Ihr Rosenwangen gleicht dem Blitze 00:57
• 74 Telemann: Act III, Scene XI: 96. Recitative (Pulcheria, Honoricus): Der Prinz betrachtʼ das Bild 01:42
• 75 Telemann: Act III, Scene XII: 97. Recitative (Trasimundus, Honoricus, Pulcheria): Prinz! welcher Streit? 00:47
• 76 Telemann: Act III, Scene XII: 98. Aria (Pulcheria): Komm, sehnliches Sterben 03:54
• 77 Telemann: Act III, Scene XII: 99. Recitative (Trasimundus, Honoricus): Man muss sie nur 00:24
• 78 Telemann: Act III, Scene XIII: 100. Accompagnato (Honoricus): Wo ist das Ende meiner Plagen? 02:36
• 79 Telemann: Act III, Scene XIII: 101. Aria (Honoricus): Zeige dich, geliebter Schatten! 05:09
• 80 Telemann: Act III, Scene XIII: 102. Recitative (Honoricus): Jedoch ich sehe sie im Schatten nicht – Scene XIV: 103. Recitative (Trasimundus, Turpino, Honoricus): Halt ein, o Prinz, halt ein! 00:56
• 81 Telemann: Act III, Scene XIV: 104. Aria (Trasimundus): Kleiner Liebesgott, du spielest 02:48
• 82 Telemann: Act III, Scene XV: 105. Recitative (Turpino): Ei, ei, das ist zu viel! 00:27
• 83 Telemann: Act III, Scene XV: 106. Aria (Turpino): Alle sind von einer Art 02:02
• 84 Telemann: Act III, Scene XVII: 109. Recitative (Gensericus, Olybrius, Chorus): Die Stund ist da – Scene XVIII: 110. Recitative (Trasimundus, Gensericus): Großmächtigster! ein Wunderfall 00:52
• 85 Telemann: Act III, Scene XVII: 111. Aria a 2 (Eudoxia, Gensericus): Was der Himmel hat versehn 04:11
• 86 Telemann: Act III, Scene XIX: 112. Recitative (Honoricus, Gensericus, Eudoxia, Pulcheria, Olybrius, Placidia, Helmiges, Melite, Turpino): Ich bin beglückt auf allen Seiten 01:01
• 87 Telemann: Act III, Scene XIX: 113. Chorus: Amor, Amor, alle deine Plagen 01:11
• Total Runtime 02:55:17

Info for Georg Philipp Telemann: Sieg der Schönheit

In 455, the tribe of the Vandals lived up to their name when they, along with their king Gaiseric, paid an unforgettable visit to the eternal city of Rome. The literal birth of Vandalism forms the backdrop to this spectacular opera. On 13 July 1722, Georg Philipp Telemann demonstrated with this stage work that the hanseatic city of Hamburg had just appointed him as its new opera director for the best of reasons. Der Sieg der Schönheit (The Victory of Beauty) is an intricately baroque love story with a quadruple happy ending, over the course of which all kinds of uncertainties have to be overcome. The composer pulls out all the musical and dramaturgical stops at his disposal, including captivating arias, grand choruses, martial music and intimate emotions. The result was a resounding success with audiences, a victory of beauty that - as can be heard here - still echoes today.

Lydia Teuscher, soprano (Eudoxia)
Sunhae Im, soprano (Placidia)
Anna Willerding, soprano (Pulcheria)
Emilie Renard, mezzo-soprano (Melite)
Dominik Koninger, baritone (Gensericus)
Terry Wey, countertenor (Honoricus)
Ludwig Obst, tenor (Helmiges)
Johannes Stermann, bass (Trasimundus)
Dietrich Henschel, baritone (Turpino)
Marko Pantelić, baritone (Olybrius)
Akademie für Alte Musik Berlin
Michael Hofstetter, conductor

Michael Hofstetter
a well-known conductor for more than 30 years has been invited to perform in many renowned Opera Houses, lead Orchestras and participate in Festivals.

To name only few, he conducted at the Bavarian State Opera, the State Opera Houses in Hamburg and Stuttgart, the Theater Basel, the Theater in Vienna, the Royal Opera Copenhagen, the Welsh National Opera, the English National Opera, the Houston Grand Opera, the Canadian Opera Company Toronto, both the International Haendel Festivals in Halle as well as in Karlsruhe, the Salzburg Festival, the Orchestre National d’Ile de France and many more.

Native to Munich, his career took off at the theaters and opera houses in Passau and Wiesbaden and in addition he became a much appreciated Professor for Orchestra Conducting and Early Music at the University Mainz.

In the Opera world the Theater Giessen greatly improved its reputation under the guidance of Michael Hofstetter as General Music Director and Prinzipal Conductor (1998-2000 and again from 2012-2019) and put the Ludwigsburg Castle Festivals on the world map (2005-2012). He also made his mark with the Geneva Chamber Orchestra (2000-2006) as well as the Stuttgart Chamber Orchestra (2006-2013) and the Grand Orchestra Recreation Graz and was co-founder of the styriarte Festival Orchestra Graz (2010-2016).

Since January 2020 he is both artistic Director as well as managing Director of the International Gluck Festivals Nurenberg, since the season 2021/22 First Guest Conductor of the Tölzer Knabenchor.

The expert Magazine “Opernwelt” holds an annual questioning of critics, by whom the Maestro was nominated serveral times as “Conductor of the Year”, i.e. for his production of Hasse’s Didone Abbandonata at the Prinzregenten Theater as well as for his achievements as General Music Director at the Theater Giessen. For his accomplishments in the Operatic field he was bestowed with the Robert-Stolz-Medal and for his success with the Ludwigsburg Castle Festivals he was honored with the Horst-Stein-Prize.

Michael Hofstetter released numerous recordings with labels such as Oehms Classic, cpo, Orfeo, Deutsche Grammophon, SONY and Virgin Records. The CD “Rossini: Arias and Overtures” was awarded the “Orphee du meilleur interprete” by the Academie du Disque Lyrique France in 2008. The CD “Hasse reloaded” reached the “Best List” in 2012, the CD "A Gentle Tenor" the "Best List"b in 2024, established by the German Record Critics.

Akademie für Alte Musik Berlin
celebrates its 40th anniversary in 2022. Founded in Berlin in 1982, the ensemble is now one of the world's leading chamber orchestras playing historically informed music.

For four decades, the orchestra has demonstrated its versatility with exciting concert projects, making significant contributions to the rediscovery of the music of Carl Philipp Emanuel Bach and Georg Philipp Telemann. Thoughtfully, the ensemble has also gradually expanded its core repertoire from the Baroque and Classical periods into the 19th century, most recently with its much-acclaimed cycle "Beethoven's Symphonies and their role models."

Whether in New York or Tokyo, London or Buenos Aires, Akamus is a much sought-after guest on the most important European and international concert stages.

Akamus is a central pillar in the cultural life of its home city of Berlin. For over 35 years, the orchestra has been playing a subscription series at the Konzerthaus Berlin. At the Berlin State Opera, the ensemble has regularly dedicated itself to Baroque opera since 1994. With its own concert series, Akamus has also been a regular guest at Munich's Prinzregententheater since 2012.

Akamus performs under the alternating direction of its two concertmasters, Bernhard Forck and Georg Kallweit, as well as selected conductors. The ensemble has a particularly close and long-standing artistic partnership with René Jacobs. In addition, Emmanuelle Haïm, Bernard Labadie, Paul Agnew, Diego Fasolis, Fabio Biondi, Rinaldo Alessandrini, and Christophe Rousset have recently conducted the orchestra.

Akamus also works regularly with internationally renowned soloists such as Isabelle Faust, Antoine Tamestit, Kit Armstrong, Alexander Melnikov, Anna Prohaska, Michael Volle, and Bejun Mehta. Together with the dance company Sasha Waltz & Guests, they created the internationally successful production of Henry Purcell's Dido & Aeneas, which has been widely performed from Berlin to Sydney. The most fruitful partnership with the RIAS Kammerchor Berlin deserves special mention: the collaboration, which has been equally formative for both ensembles, began 30 years ago. Akamus also maintains a close partnership with the Bavarian Radio Chorus.

The ensemble's recordings have won all the major recording awards, including the Grammy Award, Choc de l'année, and the Annual Prize of the German Record Critics. In 2006, the orchestra received the Telemann Prize of the City of Magdeburg, and in 2014, the Bach Medal of the City of Leipzig.

Booklet for Georg Philipp Telemann: Sieg der Schönheit