GEORG FRIEDRICH HAENDEL Clori, Tirsi e Fileno
La RisonanzaFabio Bonizzoni
La RisonanzaFabio Bonizzoni, direction
Roberta Invernizzi, soprano Yetzabel Arias Fernández, soprano Romina Basso, alto Andrea Mion, oboe Elisabeth Baumer, oboe & recorder Leila Schayegh, solo violin Carlo Lazzaroni, Rossella Borsoni, Silvia Colli, Raffaello Negri, Ana Liz Ojeda, Elena Telò, violins Gianni De Rosa, Efix Puleo, violas Caterina Dell'Agnello, cello Rebeca Ferri, cello & recorder Vanni Moretto, Davide Nava, double basses Gabriele Palomba, archlute Fabio Bonizzoni, harpsichord
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GEORG FRIEDRICH HAENDEL (1685-1759)
Clori, Tirsi e FilenoLe Cantate Italiane di Handel V Rome, 1707
1-29 Clori, Tirsi e Fileno (Cor fedele, in vano speri) [HWV 83]
About this CD
In May 1707 George Frideric Handel entered into the service of the Marquis Francesco Maria Ruspoli, and under his protection, embarked upon a tremendous career. As well as making a name for himself as a spectacular virtuoso on the harpsichord and organ, through his plentiful concerts in the Roman academies, Handel lost no time in also becoming a highly sought-after composer through his felicitous and apparently inexhaustible inspiration. In addition to a significant number of cantatas for solo voice and basso continuo, Handel also involved himself in composing cantatas for larger numbers of voices, combining these with a large supporting orchestral group.
The score of Clori, Tirsi e Fileno is certainly a complex one, as much for its dramatic plotline as for its individually-chosen musical options: the result is a genuine opera in miniature, equipped with real refinement and lightness. Consequently, Clori, Tirsi e Fileno turns - even more so than with other Italian cantata works by the caro Sassone - into an authentic laboratory in which Handel experiments with the most diverse musical and dramatic forms, obtaining by this method a capacity to elaborate that special language which was to locate it firmly within the glories of the theatre, from the past and the present.
Roberta Invernizzi is very clearly one of the finest sopranos to be heard today in the Baroque - and especially the Italian Baroque - repertory, as evidenced by the beauty that she brings not only to operatic roles and vocal roles which have been essayed by many other famous singers both on record and in performance, but also by her sense of clarity in and characterization of unknown music from the 17th and 18th centuries. The rediscovery of so much Italian music is a reflection of the labour and artistry of numerous musical minds but as a kind of prima donna inter pares the Milanese soprano stands out from many others for the intensity of her approach, to the point that she is emerging as a new muse for other distinguished modern-day practitioners of the Italian Baroque such as Fabio Bonizzoni and Antonio Florio who contribute here their own thoughts on the artistry of Roberta Invernizzi, adding to the soprano’s own considerations about her musical life.[read more...]
Fabio Bonizzoni’s series, with La Risonanza, of Handel Italian cantate con stromenti for Glossa has now come to a conclusion with seven volumes recorded, but not before the group were awarded the 2010 Stanley Sadie Handel Recording Prize for the fifth instalment, Clori, Tirsi e Fileno (with sopranos Yetzabel Arias Fernández and Roberta Invernizzi and contralto Romina Basso in the three named roles). In commending the disc the jury of the Recording Prize made the following comments, “La Risonanza produces a delightful performance that presents all of the strengths and virtues we have come to associate with their recent explorations of Handel’s music. [read more...]
In the third instalment in Fabio Bonizzoni’s survey of the secular cantatas with instrumental accompaniment composed by Georg Frideric Handel during his stay in Italy, come a quartet of works associated with the Venice-born maecenas Pietro Ottoboni – including the substantial Ero e Leandro, the libretto for which is plausibly considered to have been written by the Cardinal Ottoboni himself. As well as the seldom-performed cantata for bass, Spande ancora a mio dispetto and Ah! Crudel, nel pianto mio scored for soprano solo, Bonizzoni also directs the Spanish-texted No se emendará jamás.[read more...]