G.F. Händel - Handel In Italy, Solo Cantatas - Emma Kirkby - London Baroque - BIS Records BIS-1695 (2008) Georg Friedrich Händel - Handel In Italy, Solo Cantatas Emma Kirkby - London Baroque BIS Records BIS-1695 (2008) Classical | DR14 | 2ch & Mch Hybrid SACD-rip via Cambridge Audio CXU to iso (3.12 GB) | PDF As a young and aspiring composer, Handel spent 1706-1710 in Italy. These were years that would prove decisive for him, as he met with excellent opportunities to expand and perfect his skills, especially in the genre of vocal music. Based in Rome, where opera was banned by papal decree, Handel only composed two works in this most Italian of genres during his stay. Instead, following the example of other composers in the Holy City, he opted for another genre which incorporated similar dramatic and expressive qualities – the cantata. During his Italian years, it is believed that Handel may have written as many as 150 such works, including a number of so-called cantate con stromenti for one or more solo voices plus additional instruments. The four cantatas on this disc feature the standard combination for such works: soprano, two violins and basso continuo. Thematically, they can be grouped in pairs: Notte placida e cheta (Calm and Placid Night) and Un’ alma innamorata (A Soul in Love) tell of unhappy love and contain elements from Classical mythology against a pastoral backdrop. By contrast, Figlio d’alte speranze (Son of High Hopes) and Agrippina condotta a morire (Agrippina Led to Her Death) tell tales of power, and of its use and abuse. Each cantata presents a small drama in its own right, and can be seen as a preliminary study in the field of opera, in which Handel thoroughly explores the best ways of using the expressive means at his disposal. This exciting programme is presented by Emma Kirkby and London Baroque, household names in the sphere of ‘early music’ and beyond, and certainly no new-comers to the works of Handel. Indeed, when they last joined forces in a Handel programme (BIS-CD-1065) the website MusicWeb International called the performances ones that ‘make one wish that all Handel music making could be of this order’, while the reviewer in BBC Music Magazine wrote ‘I've seldom been as moved by a recording, both music and performance’. bis.se Even fans of English soprano Emma Kirkby may be surprised to find her tackling the muscular Italian-language music of the young Handel, which is mostly the province of big operatic voices. This recording offers four of the hundred or more Italian cantatas Handel wrote -- almost mini-operas with a single character who pours out her heart about, more often than not, love gone bad in a series of recitatives, accompanied recitatives, and arias. There is a Concerto a quattro in D major as an intermezzo, with polyphonic textures that offer a nice contrast to all the chordal accompaniments. Only the final cantata, Agrippina condotta a morire, HWV 110 (Agrippina Led to Her Death), has been much sung, and in the fiery, expansive parts of this work (try "Orrida, oscura," track 16), depicting the growing realization of Agrippina the Younger that her son, Nero, is going to do her in (bear in mind while listening that she herself may well have poisoned Claudius), listeners may wish for more power. The more intimate cantatas on the first part of the program fare very well, however. Kirkby's delicate ornaments in the arias of Notte placida e cheta, HWV 142 (Placid and Calm Night, composed in 1707), draw the listener into this subtle little pastoral lament, which isn't much heard even among confirmed Handelians. The historical-instrument London Baroque provides perfectly controlled, low-key support throughout. The bottom line is that Kirkby's many fans will appreciate this new demonstration of her talents, and even lovers of the Baroque aria may find hers a valuable alternative perspective. Booklet notes are in English, French, and German, but only the anglophones get translations of the Italian cantata texts. allmusic.com SEE, HEAR & LEARN MORE! Notes & Editorial Reviews Works on This Recording Customer Reviews Notes and Editorial Reviews Emma Kirkby always has been an excellent Handel singer, from her two 1985 recordings--Italian Cantatas with Christopher Hogwood and the Academy of Ancient Music (L'Oiseau Lyre) and German Arias with Charles Medlam and the London Baroque (EMI)--and 1987's Aci, Galatea e Polifemo, again with the London Baroque (Harmonia Mundi) to this new, exemplary program of Latin motets. Kirkby, now in her early 50s, retains a remarkably youthful sound, exhibiting all of her admired agility and intonational accuracy, but with more richness in the lower register than in her younger days. Her upper notes also have more body and warmth than ever--gone is the tendency to screech on the quickest, highest pitches. Interpretively she commands a range that includes graceful swinging dance (the first movement of the Laudate pueri), lyrical prayerfulness (Largo and Adagio opening of the Salve Regina), and just full-out, uncompromising virtuosity (the Alleluja ending of O qualis de caeli sonus; the recitative third section of Laudate pueri). Kirkby also offers some wonderfully subtle expressive effects that show off her full powers of vocal control (the first syllable of "seculum" at the end of the second section of Laudate pueri) while making the music and her performance even more memorable. Of course, Handel gives Kirkby some lovely music to sing--some of his finest melodies and exciting vocal challenges--and she seems to relish every moment. The "orchestra"--two violins, cello (played by conductor Charles Medlam), and organ--adds some memorable moments of its own via a trio sonata (with one of Handel's more irresistible slow movements) that comes in the middle of the program, but these players really shine in their accompanying role, always in complete interpretive sync with the singer. The sound leaves nothing to be desired--ideally balanced, clear, natural voice and instruments in a well-mannered, complementary acoustic. classicstoday.com Tracklist Notte Placida E Cheta, HWV142 (15:07) 1. Recitativo: Notte Placida E Cheta – Aria: Zeffiretti, Deh! Venite 6:22 2. Recitativo: Momento Fortunato – Aria: Per Un Istante 2:30 3. Accompagnato: Ma Già Sento Che Spande – Aria: Luci Belle, Vaghe Stelle 3:38 4. Accompagnato: Oh Delizie D’amor – Aria: Che Non Si Dà 2:34 Un’ Alma Innamorata, HWV173 (13:30) 5. Recitativo: Un’ Alma Innamorata – Aria: Quel Povero Core 6:34 6. Recitativo: E Pur Benche Egli Veda – Aria: Io Godo, Rido E Spero 5:12 7. Recitativo: In Quanto A Me Ritrovo – Aria: Ben Impari Come Se Ama 1:40 Concerto A Quattro In D Major (5:42) 8. I. Con Contento 1:40 9. II. Allegro 1:27 10. III. Largo 1:34 11. IV. Presto 1:00 Figlio D’alte Speranze, HWV113 (9:59) 12. Recitativo: Figlio D’alte Speranze – Aria: Troppo Costa Ad Un’ Alma 4:40 13. Recitativo: Era Conforto Il Suo Penar – Aria: Sia Guida Sua Stella 2:39 14. Recitativo: In Così Dir Previde – Aria: Brillava Protetto 2:41 Agrippina Condotta A Morire (Dunque Sarà Pur Vero), HWV110 (22:05) 15. Recitativo: Dunque Sarà Pur Vero 0:54 16. Aria: Orrida, Oscura 3:02 17. Recitativo: Ma Pria Che D’empia Morte 0:48 18. Aria: Renda Cenere Il Tiranno 2:26 19. Recitativo: Si, Si, Del Gran Tiranno 1:00 20. Scena: Come, O Dio! Bramo La Morte 5:28 21. Aria: Se Infelice Al Mondo Vissi 5:03 22. Recitativo: Trema L’ingrato Figlio! 0:56 23. Aria: Su Lacerate Il Seno 1:57 24. Recitativo: Ecco A Morte Già Corro 0:25 Total playing time 67:23 Personnel Soprano Vocals – Emma Kirkby London Baroque Violoncello – Charles Medlam Harpsichord – Terence Charlston Violin – Ingrid Seifert (tracks 5 to 7), Richard Gwilt Harpsichord - Terence Charlston Executive producer – Robert Suff Producer, engineer – Jens Braun Recorded March 2007, Länna Church, Sweden Checksums for .iso MD5: 482d1300815971fbdeb69b097304f71b *Händel - Kirkby.iso SFV: Händel - Kirkby.iso 07FBCCC2 https://www.youtube.com/watch?v=spr-2bipjrk https://www.filefactory.com/folder/83b3e7a4d8e496ae