George Frideric HANDEL (1685
1. Fammi combattere (act I) [3:35]
Aci, Galatea e Polifemo
2. Qui l’augel di pianta in pianta [7:27]
3. Cara sposa, amante cara (act I) [10:44]
4. Ah, stigie larve! ... Vaghe pupille (act III) [7:18]
5. Va tacito (act I)* [6:01]
6. Bramo te sola (act II) [5:09]
7. Se dolce m’era già (act III) [7:05]
8. Furibondo spira il vento (act II) [4:10]
9. Se in fiorito ameno prato (act II) [6:36]
10. Ombra cara di mia sposa (act II) [9:39]
Nathalie Stutzmann (contralto)
The Hanover Band/Roy Goodman
* Raul Diaz (horn)
rec. October 1991, Rosslyn Hill Chapel, Hampstead, London
no texts but liner notes by Richard Stokes
NEWTON CLASSICS 8802094 [68:42]
Nathalie Stutzmann made her debut in 1985, aged 20, so what
we hear on this disc is a still very young singer. Her distinctive
dark timbre and fluent technique were already her hallmarks.
Best known, perhaps, as a concert singer, not least in French
mélodies and German Lieder, she has also appeared in opera,
including several Handel roles. We first meet her as the eponymous
hero in Orlando, who in the first act decides to demonstrate
that he loves Angelica, by fighting monsters. This is a true
Aci, Galatea e Polifemo is not strictly speaking an
opera, but a dramatic cantata, written in Italy and first performed
in Naples in 1708. It shouldn’t be mixed up with Acis and
Galatea written a decade later in England. The story though
is practically identical. This aria, sung by Acis, is beautiful
with celestial recorder obbligato – though the liner notes say
oboe. As always with Handel there is plenty of room for embellishment
of the vocal line.
From his first London opera, Rinaldo, we get the remarkable
aria from act I, Cara sposa, amante cara. After the
agitated orchestral introduction we get what Charles Burney
called ‘by many degrees the most pathetic song, and with the
richest accompaniment, which had been then heard in England’.
It is long and many-faceted and the whole opera was a magnificent
calling-card for the young German in 1711. Even greater masterpieces
were to follow but Rinaldo is still an amazing composition.
Vaghe pupille is another highly individual piece from
Orlando, depicting Orlando’s jealousy upon finding
out that Angelica loves another. The vocal equilibristics are
uncommonly motivated in this case, no mere decorations.
From Giulio Cesare we hear Caesar’s Va tacito
from the first act, also unique insofar as it is Handel’s only
aria with an obbligato horn. The music is graphically descriptive
of Caesar who must act like a hunter, moving silently not to
alert his prey. The horn is played powerfully by Raul Diaz.
The two arias from Floridante are also inspired pieces
and in particular Se dolce m’era già which is a contemplation
on death. The music breathes in short phrases, interrupted by
pauses like sighs. Highly evocative.
Partenope is an opera that abounds in marvellous music.
In this aria tumultuous feelings are depicted in likewise tumultuous
In the aria from the second act of Giulio Cesare, Caesar
is enthralled by Cleopatra’s voice and compares her to a bird.
And the bird is heard in the obbligato solo violin.
Finally there is the masterly Ombra cara from Radamisto,
noble and touching, sung with great affection.
There is glorious singing throughout the recital and Roy Goodman
draws vivacious and stylish playing from the excellent Hanover
Band. It is great to have this disc available again. Handel
lovers should place their orders at once.
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