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
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Commercial release sheet (PDF)
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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
Acerca de este CD
En el tercer volumen del recorrido que Fabio Bonizzoni está realizando por el corpus de cantatas profanas con acompañamiento instrumental que Georg Friedrich Haendel compuso durante su estancia en Italia, el director milanés presenta un cuarteto de obras asociados por el mecenas Pietro Ottoboni, incluyendo la muy notable Ero e Leandro, cuyo libreto se considera con bastante fundamento que pudo haber sido escrito por el mismo Cardenal Ottoboni. Además de la raramente interpretada cantata para bajo Spande ancora a mio dispetto y de Ah! Crudel, nel pianto mio, escrita para soprano, el disco incluye la cantata con texto en español titulada No se emendará jamás. Bonizzoni continúa en esta entrega con su política de utilizar a una variedad de cantantes de primera fila que puedan aportar un toque intenso y directo a estas obras «italianas» de Haendel. Si los primeros dos volúmenes contaban con la colaboración de Roberta Invernizzi y de Emanuela Galli, en este «Ottoboni» el foco se centra en la soprano Raffaella Milanesi y el bajo Salvo Vitale. Igual que en ocasiones anteriores, las notas contenidas en el libreto nos ayudan a comprender este repertorio tan desatendido de Haendel. Aquí es el profesor Livio Marcaletti, experto en las músicas de Bononcini y de Haendel, quien nos guía por las cantatas del maestro sajón.
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...]