GEORG FRIEDRICH HAENDEL Le Cantate per il Cardinal Ottoboni
Raffaella Milanesi Salvo Vitale La Risonanza Fabio Bonizzoni
GCD 921523
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Performing artists
Raffaella Milanesi, soprano Salvo Vitale, bass
La Risonanza Fabio Bonizzoni, harpsichord and direction
Mike Fentross, baroque guitar Andrea Mion, oboe Rey Ishizaka, oboe Nick Robinson, solo violin Carlo Lazzaroni, violin Barbara Altobello, violin Rossella Borsoni, violin Silvia Colli, violin Fabio Ravasi, violin Gianni De Rosa, viola Caterina Dell’Agnello, cello Olaf Reimers, cello Vanni Moretto, violone
Production details
Playing time: 66’32 Recorded at the English Church, Den Haag, Holland, in January 2007 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: Livio Marcaletti Booklet in English-Français-Deutsch-Español
Links & downloads
Commercial release sheet (PDF)
Buy this product
GEORG FRIEDRICH HANDEL (1685-1759)
Le Cantate Italiane, vol. IIIRome, 1707
1-7 Ero e Leandro (Qual ti riveggio), HWV 150
8-10 No se emendará jamás, HWV 140
11-13 Spande ancora a mio dispetto, HWV 165
14-19 14-19 Ah! Crudel, nel pianto mio, HWV 78
About this CD
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 forsoprano solo, Bonizzoni also directs the Spanish-texted Nose emendará jamás.
In this latest outing Bonizzoni continues with his policy of bringing forward accomplished singers with an intense and direct feel for Handel’s Italian output. Where the first two volumes saw contributions from Roberta Invernizzi and Emanuela Galli, here, for this “Ottoboni” release, the spotlight falls on soprano Raffaella Milanesi and bass Salvo Vitale. As before, our understanding of this neglected area of Handel’s genius is enhanced by the accompanying booklet notes. Here they are provided by Livio Marcaletti, an expert on the music of Antonio Bononcini as much as on that of Handel.
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...]