APOLLO E DAFNE Georg Friedrich Haendel
La RisonanzaFabio Bonizzoni
GCD 921527 1 CD – digipak
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Performing artists
La RisonanzaFabio Bonizzoni, direction
Roberta Invernizzi, soprano Thomas E. Bauer, bass Furio Zanasi, bass
La Risonanza Andrea Mion, Elisabeth Baumer, oboe Marco Brolli, traverso Dana Karmon, bassoon Nicholas Robinson, Silvia Colli, Ana Liz Ojeda, Carlo Lazzaroni, Rossella Borsoni, Barbara Altobello, violins Gianni de Rosa, viola Caterina Dell’Agnello, Marco Testori, cello Nicola Barbieri, double bass Fabio Bonizzoni, harpsichord
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GEORG FRIEDRICH HAENDEL (1685-1759)
Apollo e Dafne Le Cantate Italiane di Handel VIINapoli, 1708 - Hannover, 1710
1-18 Apollo e Dafne (La terra è liberata) [HWV 122]
19-28 Agrippina condotta a morire (Dunque sarà pur vero) [HWV 110]
29-32 Cuopre tal volta il cielo [HWV 98]
Acerca de este CD
Para la entrega final del recorrido de Fabio Bonizzoni por las cantatas «italianas» de Haendel, el escenario se mueve –como si de un Grand Tour se tratase– desde Roma a Nápoles; probablemente las dificultades en una Roma asediada por las tropas imperiales durante la Guerra de Sucesión española impulsaron al joven músico sajón a desplazarse hacia el sur, donde podría seguir desarrollando su carrera con mayor seguridad y mejores perspectivas.
Haendel concibió las tres emotivas cantatas que se escuchan en este disco en un momento en que en Nápoles se podía disfrutar de la prodigiosa voz de bajo de Domenico Antonio Manna, con un rango vocal que abarcaba dos octavas y una quinta. Es por lo tanto posible que Haendel escribiera dos de estas piezas –Apollo e Dafne y Cuopre tal volta il cielo– pensando en Manna, si bien es probable que la primera de ellas no se completara hasta 1710, con Haendel ya en Hanover.
El atractivo ensayo de Carlo Vitali incluido en el libreto de este disco retrata de forma colorista la cultura de Nápoles a comienzos del siglo XVIII y el lugar de Haendel dentro de la misma.
Al lado de Fabio Bonizzoni y La Risonanza, que vuelven a revivir ese mundo musical de la Italia barroca experimentada por Haendel, están los bajos Furio Zanasi y Thomas Bauer, además de la soprano Roberta Invernizzi, que ha sido parte integral de esta reveladora y muy alabada colección dedicada a Haendel desde su comienzo.
Having entranced audiences across Europe with their performances of the music which Georg Frideric Handel wrote during his time in Italy – mainly in Rome – between 1706-9, and having also delighted record buyers with the seven-volume series of “Le Cantate Italiane di Handel”, released on Glossa, Fabio Bonizzoni and his singers and musicians of La Risonanza have now gone on to impress the jury of the 2011 Gramophone Classical Music Awards. On October 6, at a ceremony held in The Dorchester hotel in London, the British magazine bestowed upon the Italian musicians a prestigious Gramophone Award in the Baroque Vocal category, for the final volume in the Handel series, Apollo e Dafne (a recording which contains two further cantatas, Agrippina condotta a morire and Cuopre talvolta il cielo as well as the title work). The singers on this disc were soprano Roberta Invernizzi and the two basses Thomas E. Bauer and Furio Zanasi. [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...]
It is not only discerning music lovers around the globe who are giving a warm welcome to the recordings which are being published on Glossa; critical approval in the specialist media has been joining in as well. One example of the latter is the newly-instigated International Classical Music Awards (ICMA) which, for its inaugural 2011 edition, has chosen no less than nine of Glossa’s recent releases in its initial nominations. [read more...]