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Ades - The Tempest | 
| Artist: Covent Garden Royal Opera House Orchestra
Creators: Simon Keenlyside, Thomas Adès, Cyndia Sieden, Kate Royal, Ian Bostridge, Toby Spence, Covent Garden Royal Opera House Chorus
Label: EMI Classics
Category: Music
List Price: £21.99
Buy New: £10.59
as of 16/3/2010 08:43 MDT details
You Save: £11.40 (52%)
New (22) Used (2) from £10.22
Seller: all your music
Rating:  4 reviews
Sales Rank: 17651
Media: Audio CD
Discs: 2
Running Time: 117 Minutes
Shipping Weight (lbs): 0.4
Dimensions (in): 5.5 x 4.9 x 1
EAN: 5099969523427
ASIN: B0026FIR3E
Release Date: June 15, 2009
Availability: Usually dispatched within 1-2 business days
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| Tracks:
Disc 1
| • | Scene I Hell is empty- The Tempest, Act 1 | | • | Oh father- The Tempest, Act 1, Scene II | | • | Miranda - you are my care- The Tempest, Act 1, Scene II | | • | What you hvae told me- The Tempest, Act 1, Scene II | | • | Scene III Fear. Fear to the sinner- The Tempest, Act 1 | | • | Scene IV Sorcerer die- The Tempest, Act 1 | | • | Sir? Have you recovered them?- The Tempest, Act 1, Scene V | | • | Five Fathoms deep- The Tempest, Act 1, Scene V | | • | Scene VI As I sat weeping- The Tempest, Act 1 | | • | Alive, awake- The Tempest, Act 2, Scene I | | • | I had the notion I flew- The Tempest, Act 2, Scene I | | • | A monster!- The Tempest, Act 2, Scene II | | • | Friends don't fear...- The Tempest, Act 2, Scene II | | • | We'll find the prince- The Tempest, Act 2, Scene II | | • | Scene III They won't find him- The Tempest, Act 2 | | • | Scene IV What was before- The Tempest, Act 2 |
Disc 2
| • | (Orchestral)- The Tempest, Act 3, Scene I | | • | This way- The Tempest, Act 3, Scene I | | • | Spirit must I right- The Tempest, Act 3, Scene II | | • | Fool. You've tired us out- The Tempest, Act 3, Scene II | | • | Murder!- The Tempest, Act 3, Scene II | | • | Help us!- The Tempest, Act 3, Scene II | | • | Father- The Tempest, Act 3, Scene III | | • | Murder this man- The Tempest, Act 3, Scene III | | • | Quietness- The Tempest, Act 3, Scene IV | | • | How good they are- The Tempest, Act 3, Scene IV | | • | How these things- The Tempest, Act 3, Scene IV | | • | Scene V Who was here- The Tempest, Act 3 |
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| Customer Reviews:
 Perfect music for a simple tale of love and vengeance November 1, 2009
Jacques COULARDEAU (OLLIERGUES France)
0 out of 1 found this review helpful
At once the situation is described as Hell and the characters as devils. This diabolization of the situation is original to this opera. Prospero and Miranda brings up the vengeance based on the rivalry and even strife between two brothers, Prospero and Anthony. The music is both dramatic and violent though Prospero gets to a calm and soothing tone at the end to pacify Miranda, but when Ariel brings some erratic and very sharp, unstable, chaotic and shrill vocal effects. Caliban next is another story. Caliban tries to save Prospero and his voice is fuller and deeper than Ariel's, his vocal effects more balanced, nearly pacifying in the fear or awe they express and Prospero has to be forbidding and condescending to send Caliban away, as if he were shaming him in his desire to save him and Prospero calls Ariel again. Prospero wants to have Ferdinand brought to Him by Ariel who resists this idea and then nearly mourns about what he is going to do in a newly acquired vocal depth, in slower, longer notes, less shrill too. Ferdinand appears then, a survivor from the shipwreck and he sounds rather disoriented. And he discovers and meets Miranda who herself discovers what a man looks like and she is moved in her sexual emotions, just as much as Ferdinand is about Miranda. Prospero then comes in and expresses his desire to get avenged but Ferdinand expresses his desire for Miranda who is trying to pacify her father. The strife is expressed by the singing one on top and over the others in this section. Prospero calls for Ariel who is confused and divided between Prospero and Miranda, as well as Ferdinand he had saved after all. The second act takes us to the survived court on the island after the shipwreck. They believe Ferdinand is dead and they show their divided beliefs and loyalties. A real eruption of hatred and fear and greed. That's when Caliban comes in and he tries to plead with them into some kind of peace but they mock him and try to make him like a foolish monster. When Ariel arrives the court literally explodes into some kind of totally disorganized behaviour. And then Caliban pacifies them with a sound and calm long aria with a prediction of a wealthy and comfortable future. Caliban tries to get some kind of alliance with the surviving court against Prospero who stole his land and his kingdom. He describes Prospero has some kind of dangerous magician, if not a sorcerer. But Sebastian rejects him as a liar and a drunk monster and Gonzalo and the Court promise to go and find Ferdinand though the King of Naples does not believe Ferdinand is still alive. Ariel is leading the King of Naples and Gonzalo in their looking for Ferdinand. Caliban stays behind with those who do not believe Ferdinand is still alive. Prospero in an aside curses them into getting insane. But Caliban suggests Stefano gets Prospero's daughter, marries her and helps him Caliban recapture his kingdom. They don't believe him. We then shift to Ferdinand enslaved and tied down by Prospero. Miranda wants to help but she wants to know if Ferdinand loves her. Ferdinand declares his love. She tells him her name and the loving bondage is tied up. The duet there is magic in many ways with a light nearly bucolic music that evokes peace and satisfaction, happiness and stability. And Prospero concludes that second act with his defeat because he cannot fight against his own daughter, when moved by love and love is stronger than his own force moved by hatred and vengeance. The third act starts with the drunk Caliban, Stefano and Trinculo. Stefano is already celebrating his taking Miranda, nearly by force, and becoming the next king by killing Miranda's father. During that time Ariel is reporting the state of the rest of the court, weak and lost, wasted by Ariel who made them err around. Sebastian and Antonio are plotting together to seize the crown from Gonzalo appointed by the old king. That's when Prospero and Ariel provide them with some banquet. Gonzalo describes the world he wants to build, peaceful and satiated in all its needs and yet no trade and no engines. The plotters make fun of this idealistic vision. Ariel comes to haunt and accuse them with their primal crime: banning Prospero and causing what they think was his death. Their old guilt immediately comes back to the surface. It is Prospero's triumph. Prospero has had his vengeance and he is going to get his kingdom again, says Ariel who disappears, with the promise to destroy the whole world. That's when Caliban arrives and demands Prospero's daughter. Prospero refuses and Miranda too. Prospero appears to the court and reveals himself. The King of Naples begs for forgiveness now his son is dead. But Ferdinand appears and tells his father he is married to Prospero's daughter Miranda. The duet then is absolutely celestial and heavenly. A perfect union in which the King, Prospero and Gonzalo join. Prospero provides a new ship with a little of magic. It all ends with some Italian unity between Milan and Naples. Prospero has to forgive and accept to go back to Milan. He breaks his magic stave and Ariel leaves him. And Caliban recuperates his kingdom while Ariel stays here too, in the wings. Thomas Adès has slightly simplified Shakespeare's play and has more or less made it in a way a distant relation to Faustus, some kind of alternative ending to Marlowe's version and Goethe's Second Faust with a moment of grace when everything goes back to normal in real life and not in some fantasized world. The music is there to accompany the tale, quite often a background accompaniment that stands in contrast with the voices.
Dr Jacques COULARDEAU, University Paris 1 Pantheon Sorbonne, University Paris 8 Saint Denis, University Paris 12 Créteil, CEGID
At Last A Great Opera on The Tempest September 8, 2009
Bing-Alguin
4 out of 5 found this review helpful
Shakespeare's The Tempest has inspired many composers to write scene music of different kinds, so for example Purcell and Sibelius; Beethoven is said to have been motivated to compose his piano sonata, op.31, nr 2, by this enchanting as well as enchanted play. But no one has really succeeded in making an opera of high class from this romance drama, that has the best prerequisites to be transformed into a dramma di musica, as The Tempest certainly has. Thomas Adès's bold attempt is met with the highest expectations, and there is no doubt that this Shekaspearean opera will show up as one of the greatest and most successful operas of our time.
Adès has had the benefit of a tremendously skilful libretto, written by Meredith Oakes, that changes the blank verse into easily composed and easily sung short lines, often rhymed, and it is the strong cooperation between music and words that constitutes the overwhelming impression of this opera recording and is the basis of its success. Oakes and Adès have not been throughout bound by Shakespeare's plot and text. So, for instance, - and that is perhaps the most sensational change of structure in the whole opera -, does the opera not end with Prospero's farewell to Ariel (read: Shakespeare's farewell to dramatic art), but it is Caliban and Ariel that get the honour to finish the last scene, Caliban singing his almost heartbreaking farewell: "Who was here?/Have they disappeared?/Were there others?/Were we brothers?//They were human seeming/I was dreaming", accompanied by Ariel's call, fading in an etherical vocalizing. Whoever wishes to do so, can undoubtedly make a postcolonial interpretation of this ending, quite corresponding to recent tendencies in literary criticism. Is this a postcolonial opera? is it the first one? It is open for anyone to decide.
This recording is also favoured by a magnificent cast, as good as is possible today. Simon Keenlyside sings Prospero's part gloriously and authoritatively and with a convincing inner expression. As Miranda we can hear Kate Royal, very stylish and with a lovely perfection. Toby Spence sings Ferdinand's part with his lively and intimate tenor, his intensively present voice. Ingeniously, Caliban is a tenor role too, here performed with the brilliance of Ian Bostridge's, changing from aggressiveness into helpless vacillation. The most startling part is, however, Ariel's, sung by Cyndia Sieden in probably the highest and most difficult soprano role in the whole opera literature. An incredible feat, a stunning performance that creates a distinctive image for this recording.
Even the smaller roles are well characterized: Philip Langridge as an anxiety-ridden and finally relieved king of Naples, Donald Kaasch's malevolently rude tenor, terribly repentant in the end, David Cordier's comically shrill countertenor as Trinculo, as well as Stephen Richardson as Stefano, Jonathan Summers as Sebastian and Graeme Danby as Gonzalo.
What gives you the greatest impact of the opera is of course, in the main, the musical inventiveness of Adès, wider and richer and more expressive than ever. Some of the numbers and arias are immensely beautiful, and such numbers you certainly will return to many times, like numbers of Verdi and Puccini. Ariel's strange and marvellous aria on Shakespeare's famous lines: "Five Fathoms deep/You father lies", Miranda's and Ferdinand's love duet in the end of the second act - exceptionally beautiful -, and the big reconciliation and all's-well-that-ends-well scene towards the end of the opera. By now, great events in the opera repertoire.
I think I will return to this record many many times; it is no doubt a gem for every opera lover. And when a DVD will appear - it must be an absolute necessity! -, I will immediately buy that one too.
 Suppose you had to be there.. June 26, 2009
D. E. Potts
6 out of 8 found this review helpful
First of all, I love Thomas Ades and own every recording available. I'm listening to this for the fourth time now and unfortunately I still feel the same, its all just a bit dull.. Don't get me wrong, its a beautifully crafted opera and the performance is very good, I'm just not feeling anything from it. Mr Ades always strives to do something different with every work he writes but this time he seems to have borrowed styles from Wagner to Strauss, Britten and more recently, and I have to say regrettably - Gerald Barry! in an attempt to make the ultimate Tempest as some of the great composers in the past have wanted to do. If only he had kept his more youthfull, inventive approach like in "Powder her Face where he keeps you gripped and surprised from start to finish, with his incredible imagination and ability to stretch an orchestra to its limits. But instead he seems to have matured a bit too early and wrote music that traditionalists and old school critics will love.
The style is in the late romantic mode and the scenes a sang as one long aria without any motifs and with tonal orchestration blending behind the melodic sang words. (and there are alot of words!) The highlights for me are the preludes with the swirling chromatic lines interweaving against each other but these seem to set a scene for something else..
A lot of great works of art take time to effect you, so it may grow on me, but in the meantime I'll stick to Verdi's Macbeth or Falstaff.
The Tempest Thomas Ades June 16, 2009
P. Bennett (UK)
8 out of 8 found this review helpful
This is a superb recording of a superb piece of 21st century music theatre. The recording was made during the 2007 revival of the piece at Covent Garden with largely the same cast as the premiere under the baton of the composer.
It is said that the prelude was scored days before the premiere in 2004, yet as with other outpourings of genius in the history of music the piece appears seamless and as one with the drama that follows.
There are sections that are mildly contrived: many commentators have remarked that the reconiliation quartet of the last act is strongly based on Beethoven's 'Mir ist so Wunderbar, both in style and form. Likewise the opening exchanges beween Miranda (Christine Rice) and Prospero (Simon Keenlyside) have a similarity to the father/daughter exchanges of Wotan/Brunnhilde.
Nevertheless this is a wonderful Tempest. The music that Ades weaves for
Caliban (Ian Bostridge) and his strange island, is truly mysterious and magical, and the Ariel (Cynthia Sieden), described by one reviewer as a "soprano on helium" is a truly original and entrancing sound which brings something new and original to the world of opera.
The music drama evolves powerfully. Although it is not based upon musical numbers, the action passes through a range of traditional forms which keep the listeners' ears focussed upon recognisable forms.
It could be argued that this piece is much more traditional opera, based upon 19th and 20th century models rather than avant garde, but as Peter Grimes did 50 years before, it levers itself firmly into the mainstram operatic repertoire and will surely be a work that stands the test of time.
The Royal Opera House Orchestra performs at its best for the composer and many of the minor roles are sung by operatic masters such as Gwynne Howell and Philip Langridge.
Overall a magnificent performance.Thomas Ades: The Tempest
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