Handel – Arias (Avery Amereau)

Handel – Arias (Avery Amereau) 24-192

Quality:192kHz/24bit FLAC
Year Of Release:2020
Total Time
Total Size
Label:philharmonia BAROQUE

乔治·弗里德里克·亨德尔在他的整个职业生涯中都特别关注他的歌剧和清唱剧中的女低音或女中音角色。这些以中音谱号演唱的低声声部之间的区别在当时和现在都是相当随意的。经常在意大利歌剧 seria(严肃歌剧)中担任主角的 Castrato 男性通常被描述为“女低音”,而在同一音域中演唱的女性则被称为“女低音”、“女中音”甚至“男高音”。

在这张唱片中首演作品的六位知名歌手中,三位是女性。英国女低音阿纳斯塔西娅·罗宾逊 (Anastasia Robinson) 的职业生涯始于女高音,但在 1720 年与芝诺比亚 (Zenobia)合作出演拉达米斯托(Radamisto ) 时,她转向了女高音角色。同样是英国人的简·巴比尔(Jane Barbier)在伦敦的意大利歌剧中只演唱了三个赛季。她通常演唱男性角色,意大利女低音弗朗西斯卡·瓦尼尼-博斯基 (Francesca Vanini-Boschi) 也是如此,他在职业生涯早期为亨德尔在威尼斯演唱。

这里代表的意大利阉人勾勒出一系列亨德尔的主要人物。尼科洛·格里马尔迪(Nicolo Grimaldi),被称为“尼科里尼”(Nicolini),在他漫长的职业生涯的巅峰时期,帮助亨德尔在 1708 年至 1717 年期间在伦敦的意大利歌剧中取得了成功。从 1720 年到 1734 年,亨德尔任职时间最长的阉人演员是弗朗切斯科·贝尔纳迪(“Senesino”) ),以其“有力、清晰、平等和甜美的女低音”和无与伦比的戏剧表演而闻名。1733 年塞内西诺叛逃到贵族歌剧院后,亨德尔让乔瓦尼·卡雷斯蒂尼(Giovanni Carestini)间歇性地在他的意大利歌剧和英国清唱剧中演唱,直到 1740 年——尽管由于他的英语很差,他被允许用意大利语演唱。

George Frideric Handel lavished particular attention on the contralto or mezzo-soprano roles in his operas and oratorios throughout his career. The distinction between these vocal categories of low voices who sang in the alto clef, was then and is now quite arbitrary. Castrato men who often sang the title roles in Italian opera seria (serious opera) were often described as “contraltos,” while women singing in the same range were called variously “contralto,” “mezzo soprano,” and even “countertenor.”

Of the six known singers who premiered the works in this recording, three were women. The English contralto Anastasia Robinson began her career as a soprano, but with Zenobia in Radamisto in 1720, she turned to contralto roles. Jane Barbier, also English, sang just three seasons with the Italian opera in London. She generally sang male roles, as did the Italian contralto Francesca Vanini-Boschi, who sang for Handel in Venice early in his career.

The Italian castratos represented here outline a succession of Handel’s leading men. Nicolo Grimaldi, known as “Nicolini,” at the height of his long career, helped to launch Handel’s success with Italian opera in London from 1708 to 1717. Handel’s longest-serving castrato, from 1720 to 1734, was Francesco Bernardi (“Senesino”), known for his “powerful, clear, equal and sweet contralto voice” and unrivalled dramatic presence. Upon Senesino’s defection to the Opera of the Nobility in 1733, Handel imported Giovanni Carestini to sing in both his Italian operas and English oratorios intermittently until 1740—though because of his poor English, he was permitted to sing both in Italian.

1. Benché tuoni e l’etra avvampi.flac               
10. O rendetemi il mio bene.flac                    
11. Sussurrate, onde vezzose.flac                  
12. Già che morir non posso.flac                  
13. Priva son d’ogni conforto.flac                  
14. Dall’ondoso periglio… Aure deh per pietà.flac
15. Verdi prati.flac                                
2. Otton, qual portentoso fulmine è questi.flac   
3. Voi che udite il mio lamento.flac               
4. Cara sposa, amante cara.flac                     
5. Venti, turbini.flac                              
6. Or la tromba in son festante.flac               
7. Senti, bell’idol mio.flac                        
8. Con tromba guerriera.flac                        
9. È si dolce il mio contento.flac    



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