GEORG FRIEDRICH HAENDEL Le Cantate per il Cardinal Pamphili
Roberta Invernizzi La Risonanza Fabio Bonizzoni
GCD 921521
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Performing artists
Roberta Invernizzi, soprano
La Risonanza Fabio Bonizzoni, harpsichord and direction
Isabel Lehmann, recorder Emiliano Rodolfi. oboe & recorder David Plantier, solo violin Oliva Centurioni, violin Elena Telò, violin Gianni de Rosa, viola Caterina Dell’Agnello, cello & viola da gamba Rebecca Ferri, cello Vanni Moretto, violone
Production details
Playing time: 66’14 Recorded in Brescia, Italy, in 2005 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Editorial assistant: María Díaz Art direction & design: oficina tresminutos 00:03:00 Booklet essay: Ellen T. Harris Booklet in English-Français-Deutsch-Español
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Commercial release sheet (PDF)
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GEORG FRIEDRICH HANDEL (1685-1759)
Le Cantate Italiane, vol. IRome, 1706-1707
1-7 Tra le fiamme (Il consiglio), HWV 170
8-11 Pensieri notturni di Filli (Nel dolce dell’oblio), HWV 134
12-22 Il delirio amoroso (Da quel giorno fatale), HWV 90
23-28 Figlio d’alte speranze, HWV 113
Acerca de este CD
La cantata de cámara floreció en Italia como contrapartida a la ópera y al oratorio públicos, patrocinada por los mecenas aristocráticos para su propio disfrute. Quizá debido a sus orígenes esencialmente privados, esta forma barroca de amplia difusión sigue siendo relativamente desconocida hoy día. Durante sus años italianos (1706-1710), Georg Friedrich Haendel compuso casi 100 cantatas para una serie de importantes mecenas, pero se ha tendido a dejarlas de lado en beneficio de sus óperas, oratorios, conciertos y suites orquestales, todas ellas de mayores dimensiones. El proyecto de La Risonanza de ejecutar y grabar todas las cantatas que cuentan con acompañamiento instrumental (aproximadamente un tercio del total) es por tanto de importancia trascendental para todos los melómanos, ya que le devolverá la vida a esta música de extraordinaria belleza (2006- 2009).
El primer disco presenta cuatro notables cantatas de los inicios del periodo italiano de Haendel: Il delirio amoroso, Tra le fiamme, Figlio d’alte speranze y Pensieri notturni di Filli. Dadas la intensidad, madurez y belleza de las cantatas, no es ninguna sorpresa que Haendel las encontrara útiles a lo largo de su vida; ahora, por fin, es posible sacar estas obras notables del taller de Haendel y concederles una audición más que merecida desde hacetiempo.
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 attention on record to the music of Handel - which has, thus far, yielded seven discs devoted to the early Italian-texted cantatas - has just now had the good fortune to receive this year’s Stanley Sadie Handel Recording Prize for Apollo e Dafne, the final release in the present series for Glossa. This is the third time that Bonizzoni and his period-instrument ensemble La Risonanza have won this prestigious prize for their series of “Le Cantate Italiane di Handel” (previous winners were the first release, Le Cantate per il Cardinal Pamphili and the fifth, Clori, Tirsi e Fileno); three other recordings have also featured as runners-up. [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...]