HANDEL IN ITALY, VOL.1 Handel in Italy music underwent fundamental changes. Indeed, by the end of his long life, these , HWV deest At the turn of the seventeenth century, any changes had fuelled a career of unrivalled 1 Gloria in excelsis Deo [2.19] young composer with a keen interest in the fluidity and longevity in both the operatic and 2 Et in terra pax [2.49] theatre is likely to have considered Northern genres. 3 Laudamus te [2.11] Italian cities to be at the forefront of cultural 4 Domine Deus, Rex coelestis [1.24] developments. Italy was, after all, the country in Key to understanding Handel’s later successes, 5 Qui tollis peccata mundi [4.08] which , oratorio and the chamber cantata therefore, is the consideration of these fertile 6 Quoniam tu solus sanctus [3.04] were born. Certainly in Handel’s case, the Italian years that comprised of not only opera Sophie Bevan soprano young composer showed a keen interest in and instrumental works but also, importantly, 7 Passacaille from the Overture to , HWV 5 [4.21] touring Italy at the age of 19 shortly after secular cantatas which were complete works in 8 Bel Piacere from , Act III, Scene 10, HWV 6 [2.08] writing his first opera, . One of his first themselves and often also bore the seeds Mary Bevan soprano anecdotal biographers, John Mainwaring, of later works. This programme explores key 9 Sonata for a Harpsichord with Double Keys in G major, HWV 579 [5.14] reported that Handel’s interest in Italian works from Handel’s Italian years including Bridget Cunningham harpsichord opera was significantly enhanced by a meeting works that contain musical inspiration modern with the ‘Prince of Tuscany’ – Prince Gian audiences recognise from later incarnations 0 Un pensiero nemico di pace [4.22] from Il Trionfo del Tempo e del Disinganno, Part 1, HWV 46a Gastone de Medici, the younger brother of in operatic or the grand melodic lines of Mary Bevan soprano the Grand Prince Ferdinand – who was so now-familiar oratorio favourites. captivated by Handel’s youthful compositions Cantata Cuopre tal volta il cielo, HWV 98 q Accompagnato: Cuopre tal volta il cielo [1.19] he demanded an audience and encouraged The composer Johann Mattheson wrote that w : Tuona, balena, sibila il vento [3.01] the young composer to explore the very latest Handel travelled with a companion Herr Von e Recitativo: Cosi fiera procella [1.03] Italian music. Shortly afterwards Handel Benitz, who may have introduced him to society r Aria: Per pietà [5.37] embarked upon his three-year sojourn in Italy or been a patron, yet we hear nothing more Benjamin Bevan baritone making his way – according to Mainwaring – of him and indeed records show that Handel Total timings: [43.00] “on his own bottom, as soon as he could make himself saved 200 ducats for his venture. a purse for that occasion” despite the The intrigue does not end there: once in SOPHIE BEVAN • MARY BEVAN • BENJAMIN BEVAN Prince’s offer of travel with his entourage. Italy, Handel was no servant to aristocratic LONDON EARLY OPERA The trip was a period of intense and households supporting musical activities, rather, BRIDGET CUNNINGHAM CONDUCTOR rich musical activity, throughout which Handel’s he was a house-guest of several well-connected www.signumrecords.com - 3 - patrons who commissioned new works and Pamphili and Cardinal Pietro Ottoboni It was through these Roman Cardinals that Cerveteri by Pope Clement XI in gratitude presented their protégé to local society. We with his keyboard playing and spectacular Handel also developed a network extending for funding mercenaries to defend the Papal know little about Handel’s first port of call, compositions. Despite Handel’s Lutheran faith beyond the city limits. In particular, in States during the Spanish war. Ruspoli Florence (or perhaps Venice as Mainwaring and staunch Protestant upbringing, the most Cardinal Ottoboni’s Palazzo della Cancelleria, came from a Florentine banking family who suggests) but it made a convenient break in important compositions of his early months in Handel had access to a significant music settled in Rome and it is possible that a the journey to Rome. And such an invitation to Rome were for the Roman Catholic Church and library and opportunity to perform with the Florentine link enabled this particular Florence may have come directly from Ferdinand they signify a determination to display a full house band led by esteemed violinist contact. Ruspoli held a weekly conversazioni de Medici and it is worth noting that range of compositional skills. It was probably Arcangelo Corelli. He also later met the of the ‘Academie degli Arcadi’ a circle of Handel returned to that city the following Cardinal Colonna who commissioned the large- influential Cardinal Vincenzo Grimani and noble dilettantes augmented by guests summer to write an opera, a genre forbidden scale setting of the psalm , Marchese Francesco Maria Ruspoli who also of the highest ranks of church or state from in Rome by Papal edict. completed early in April 1707, as well as supported him. The rewards of such circles both Italy and abroad, and their musical settings of two other Vesper psalms Laudate were not only financial, Handel enjoyed access and literary protégés like a Freemasonry of During his tour, Handel stayed largely in Rome pueri in D major and during to several of the finest harpsichords and the Arts. Handel was also invited to follow with excursions to Florence, and Venice July. Since the papal ban did not extend to organs and met many wonderful musicians Ruspoli to his country palace of Vignanello as well as in the country at Vignanello and oratorio, by May 1707 Cardinal Pamphilli such as and Domenico Scarlatti where he continued composing and performing Cerveterei. The presence of marching armies in commissioned and wrote Handel’s first major who showed mutual admiration for his work, whilst enjoying country festivities. Italy in response to the lingering war of Spanish libretto, the allegorical oratorio Il Trionfo del and soprano for whom succession may have made travelling more tempo e del Disinganno. This opportunity, Handel wrote many of his solo cantatas. Theirs In seeking to understand the network of than usually arduous since many small Italian more than most, possibly persuaded the was a lasting partnership, Handel and Durastanti influences in operation at this time one is drawn states were hedging bets by active involvement composer to stay in Rome despite there being continued to work together throughout their into a web of social, political – and possibly or by simply attempting to preserve neutrality no opera house as such. Again, it is interesting careers, notably in London. sexual – narratives that underpin Handel’s as was the case with Venice. Negotiating that a young Lutheran composer should musical watershed. These discs explore the these political sensitivities would have receive such hospitality and high profile Handel became a distinguished house guest, young composer’s Italian years through an preoccupied most travellers and may have also commissions of key Latin texts from Catholic rather than a servant, to his most influential appreciation of his wide variety of musical influenced Handel’s movements within Italy. clergy and not be converted to Catholicism secular patron, the music loving dignitary, styles: cantatas, sacred pieces, operatic works himself. Also worthy of note is how Handel Marchese Francesco Maria Ruspoli who and instrumental compositions. Handel wrote Handel arrived in Rome early in 1707 and he set secular love poetry from his circle of commissioned Handel to write La Resurezione prolifically during his stay in Italy, his output impressed his first patrons and supporters, Italian patrons and in doing so created music the following Easter in 1708. In the same includes , , sonatas, instrumental Cardinal Carlo Colonna, Cardinal Benedetto to which he returned many decades later. year, Ruspoli was made the first Prince of works and sacred vocal masterpieces including

- 4 - - 5 - over 100 cantatas. Handel was hugely Gloria In Excelsis Deo. the composer’s arrival in Rome in 1707 and as the Laudate pueri in D major, Nisi Dominus, inspired by the enormous reserve of talent in Rome (1707 or earlier), HWV deest stem from earlier years in Germany. However, the Utrecht Jubilate, Chandos Anthem O be Italy and was inspired by the high calibre based on musical similarities it is possible joyful in the Lord and even the Coronation star singers to develop his aria style. It was a The Gloria is an ancient hymn of praise sung that Handel wrote this in Rome with other anthem The King Shall Rejoice. wonderful opportunity for Handel to write for or recited during the Roman Catholic mass Latin pieces during June of 1707 and it may voices of this quality and to encourage and this is Handel’s only setting of the have been used in the church at Vignanello, the All six movements from the Gloria are magnificent them to thrive and flourish as vocal personalities Mass Ordinary for solo voice. It is scored for country estate of his Roman patron, Marchese from the deeply expressive Qui Tollis to the whilst sensitively support the individuality of coloratura soprano with violins and basso Ruspoli. The soprano Margherita Durastanti breathtakingly exuberant finale with the his singers. continuo. Hearing Georg Philipp Telemann’s might have been the intended singer as she virtuosic Cum Sancto spritu. Handel interpreted solo mass setting earlier in Hamburg may was also in the employment of the Marquis the sacred texts literally in terms of poetic This disc gives a sample of some of Handel’s have inspired Handel and in turn, Handel’s Ruspoli, although top B flats may have been rhetoric, separating praise of God from pleas finest music for voice during his time in Italy Gloria was closely followed by Vivaldi’s choral too high for her (depending on pitch) so for the forgiveness of sins in other more and in doing so gathers together for the first setting of the Gloria in 1708. possibly a performed it. The violin parts pensive movements like the different time the internationally acclaimed soloists are also extremely important and dominant characters Allegro and Penseroso in ‘L’Allegro, Sophie Bevan, Mary Bevan and Benjamin Bevan. Handel’s setting was rediscovered in 2001 so was possibly written for the virtuosic Italian Il Penseroso ed il Moderato’. The resultant in connection with a project underwritten by players Corelli or the Castrucci brothers. contrasts of mood as the piece progresses from the German Research Society. Both score and movement to movement reinforce the work’s parts belong to the Royal Academy of Music in Based on the Gloria’s orchestration (specifically, underlying formal grand structure for the Mass. London and are not in Handel’s hand. They the lack of a viola), the punctuated character are bound in a collection of Handel arias of the final Alleluia and the piece’s fresh Passacaille from Rodrigo. owned by singer and associate William exuberance, musicologists ascribe its compositional Florence (1707), HWV 5 Savage (1720-1789), and the extant manuscript date to Handel’s 1707 sojourn in Rome. was probably left to the Academy by Savage’s When questions lingered among scholars In the summer of 1707, Handel was back in student R. J. S. Stevens upon the latter’s death. about the identity of the work’s composer, a Florence doing something that he could not do number of compositional details, including in Rome, mainly writing an opera – Rodrigo Although Professor Hans Joachim Marx has the generous use of melodic and harmonic (HWV 5) or Vincer se stesso è la maggior identified the Gloria as an early work, questions dissonance, all point to the young Handel. vittoria (to overcome oneself is the greater still arise as to the purpose for which Handel Also there are several later borrowings victory). Despite it being unknown how this may have composed it. It may even predate and similarities with his other works such project came about, who commissioned it

- 6 - - 7 - and what the circumstances were for the Bel Piacere from Agrippina. Shakespearian ability to understand and their respective countries and helped pave the performance and presentation of it, working Venice (late 1709), HWV 6 sympathise with his characters, reveal all way for future work. on Rodrigo was certainly a very important their subtleties of human nature. The moment for Handel as he was learning cutting In 1709 Handel travelled North to Venice as he are sharply penned and the dramatic situations Despite its uncanny freshness, the music of edge skills about the opera at this period. received a commission from the leading Italian are brilliantly set up with a domination of Agrippina was not entirely new, some was opera house, Teatro San Giovanni Crisostomo arias over . borrowed from other composers and some was Rodrigo is an opera in three acts and is an theatre in Venice owned by the Grimani family. self borrowed, adapted and developed from extremely engaging piece musically. The opera Handel was asked to write an opera and Venice was the first place in Italy to run earlier Italian works such as La Resurrezione is based on the historical figure of Rodrigo, set Cardinal Vincenzo Grimani’s sensational operas on a commercial basis for a public and the chamber cantatas written in Florence the last Visigothic king of Hispania and the libretti Agrippina to music. It is unknown where audience, rather than being supported by and Rome. There are also a few quotes from libretto was based on Francesco Silvani’s II exactly Handel stayed in Venice and we currently the munificence of nobles, clergy or princes. Rodrigo. Yet few people in Venice would duello d’Amore e di Vendetta (“The conflict have no documented evidence that Handel met Agrippina opened the most popular carnival have heard this music before and as a whole, between love and revenge”). Vivaldi there, although it is very likely, as both season and was an enormous success and Agrippina shows an assured mastery of the composers would have had a great curiosity for ran for an unprecedented 27 performances. Italian idiom, and musically it reflects The first performance of Rodrigo took place meeting other musicians. According to Mainwaring, enthusiastic audiences character and dramatic context more than in Florence in the Autumn of 1707 at the Teatro greeted every pause in the music with cries of in Rodrigo. Cocomero and was Handel’s first opera written Agrippina, Handel’s second Italian opera is a ‘Viva il caro Sassone!’ (Long live the dear for performance in Italy. It was an instant satirical comedy about sex, intrigue, treachery, Saxon!) and Handel’s triumph before the The aria Bel Piacere is sang by Poppea in Act success and Handel’s biographer Mainwaring jealousy, revenge, and the lust for power. It is international audience established a worldwide III of Agrippina when, after much previous testified to its favourable reception by noting set in ancient Rome at the time of the emperir reputation. Interestingly Venice had suffered deception and plotting, Poppea’s love for that Handel ‘was presented with 100 sequins, Nero and shows amorality, frailty and to some extent from trying to preserve is finally revealed. Poppea was and a service of plate.’ The stunning idiosyncrasies of character. It was seen to neutrality during the Spanish war and so originally sung by the Italian soprano Passacaille, from the Overture was again portray Emperor Claudius as an oblique attack there were a particularly large number of Diamante Maria Scarabelli well known for her probably written with one of his leading Italian on the character of Pope Clement XI who diplomats working in Venice at that time. vocal range, high tessititura and virtuosity. violinists in mind as it has a solo violin part frequently clashed politically with Grimani. Among them, Prince Ernst Georg of Hanover, again reflecting the exuberant concerto like With Grimani’s libretti of such a high brother of the elector (the future George Italian style. standard with good poetry, Handel was able to I of England), and the English ambassador, develop his presentation of character with a Charles Montague Duke of Manchester, both wonderful humorous setting and an absolutely of whom may have invited Handel to visit

- 8 - - 9 - Sonata for a Harpsichord with Double Keys It is also possible that Handel might have Handel – apart from the concertos composed Un Pensiero nemico di pace in G major, HWV 579 played or improvised on this theme and that later in England – survives in a recognisable from Il Trionfo del Tempo e del Disinganno variations were subsequently worked up form. If the competition with Scarlatti took Rome (1707), HWV 46a This piece has long been attributed to the Italian for the competition between him and place, it is possible that pieces were period due to stylistic evidence although little is Scarlatti described in Mainwaring’s Memoirs. improvised and that Handel constructed This was Handel’s very first allegorical oratorio known about the circumstances of its composition. Mainwairing’s anecdote relates that Handel those probable improvisations upon his set to a libretto by Cardinal Benedetto Pamphili Certainly there are also a greater amount of and Scarlatti entered a musical contest with own compositions using themes from with a title that translates as “The Triumph of keyboard works attributed to Handel’s previous each other at the palace of Cardinal Ottoboni, sinfonias, overtures, arias or indeed themes Time and Disillusionment” The work, comprising years in Hamburg. and that, despite a common consensus that from other composers rather than performing of two sections, was composed in the spring they shared the palms on the harpsichord, his keyboard works. 1707 and premiered that summer in Rome. The primary source for this Sonata is the Scarlatti generously acknowledged the Saxon’s printed text in the spurious edition PIECES a superiority on the organ. This Sonata, which is a fantasia, is later altered In the libretto, Bellezza (Beauty) is tempted un & Deux Clavecins COMPOSEES Par Mr and reincarnated in the character Armida’s to become a disciple of Piacere (Pleasure) HENDEL/ A AMSTERDAM / Chez Jeanne Roger, Handel’s mastery of the organ that brought famous dramatic coloratura aria Vo’ far guerra’, but eventually takes heed of the compassionate c.1720. It was engraved by Walsh in London him attention in Rome: a contemporary from Act II of his later opera (HWV 7a) warnings of Tempo (Time) and Disinganno but published by Roger. The piece is printed diarist Francesco Valesio wrote on 14 January of 1711. This aria famously included a (Disillusionment) that it is better to avoid sin on four staves, without indication of 1707 that “There is lately arrived in this city harpsichord obbligato part which offers an and instead dedicate oneself to virtue and which manual is the lower or upper. It is a Saxon who is a most excellent player upon idea of what Handel would play and godliness. This aria Un pensiero nemico di possible that it was intended for two the harpsichord and composer of music and improvise during performances. In the third pace with virtuosic violin writing comes in harpsichords or indeed an instrument with who today made great pomp of his virtue in edition of the opera in June 1711, Walsh Part 1, of Il Trionfo when Bellezza is still two manuals of equal strength of sound, but playing upon the organ in the church of published ‘The Harpsicord Peice perform’d (sic) furious with Tempo’s warnings. different tones. Two-manual harpsichords San Giovanni to the amazement of all.” ... perform’d by Mr Handel’ and the Sonata is seem to have been rare in Italy at this time, Reputed to be the largest and most magnificent an elaboration of this into a virtuoso solo Handel often had problems with singers but and it is possible that one of Handel’s organ in Rome the instrument survives to piece. Showing the popularity of this work during rehearsals for Il Trionfo in Rome patrons acquired one and asked him to this day. and inspiration, William Babell also wrote he apparently struggled with the violinist compose for it and therefore Handel concluded a virtuosic fantasy based on Vo’ far guerra and celebrated leader of his orchestra and with a display of virtuosity. It is not known what music Handel would (recorded by Bridget Cunningham on the Ottoboni’s house band, Arcangelo Corelli. have performed on either of those two CD Handel in Ireland also in this series). According to Mainwaring, Corelli told Handel historic occasions. No body of organ music by he could not play the introduction or overture

- 10 - - 11 - as it was written in the French style which he Neapolitan singer and priest, Antonio Manna to create subtle meanings and allusions As Handel’s friend Alexander Pope wrote in did not understand. Corelli does have the only named singer in the cast of the beyond modern recognition. the Dunciad: French touches in his own music, so he serenata, Aci, Galatea and Polifemo (HWV would have actually known what Handel was 72) which was also performed in Naples The scene takes place in a tempest off “Giant Handel stands, / Like bold Briareus, doing, but despite this, Handel apparently in 1708. Handel was apparently delighted the coast of Naples and commences with with a hundred hands, / To stir, to rouse, to seized Corelli’s violin and played the piece to write for Manna due to his huge range an introductory Accompagnato – a recitative shake the soul he comes.” as he thought it should be performed. and formidable vocal dexterity. The tradition portraying violent gusts of wind, churning of contrabasso singing was extremely waves, thunder and lightening. The figure of 2015, Bridget Cunningham As Corelli was one of the most influential popular and is demonstrated in this cantata the ‘tridentato Dio’ emerges from the Ocean, composers of the time and also a virtuoso with robust notes teemed with the depicting Neptune with his trident. The first player, his musical impact was huge. Handel high baritone register which can skilfully aria depicts the stormy sea through wild was deeply sensitive to his performers when be transposed up. triplet figures and disjunctive chords whilst writing instrumental Italian works and here the voice is forced to surmount gruelling he took the Corellian style on board and penned In this standard cantata setting of two arias triplets, coloratura and gigantic leaps throughout a more appropriate replacement overture. and recitatives for bass, two violins and all registers. In the second recitative, a continuo, Handel shows a mastery of the cantata shepherd reveals that the ungracious glances Handel returned to this work 30 years later form influenced by dramatic arias. That and haughty words of his beloved are like with a revised and expanded three section the influence flows from opera to cantata thunder and lightning. In the final aria, he version Il Trionfo del tempo e della verità demonstrates how the latter could be regarded pleads for mercy from his enraged lover, (HWV 46b) and again much later when he was as a serious form in themselves and not demonstrating the refined Italian baroque in poor health in 1757 (HWV 71) with the just short try outs for opera as is often method of resolving a relationship crisis. ‘Triumph of Time and Peace’. assumed. Here, Handel’s word setting is delicately poised: the text ‘An unforeseen dark As a musical painter of action, and emotion, Cuopre tal volta il cielo cloud may cover the sky’ tells us of a lover, especially in enormous tableaux, Handel was Naples (1708), HWV 98 who with a single dark look from the object unmatched in his depictions of God as a of his desire, feels like a ship tossed about creator and destroyer and of heaping up the This tempestuous bass cantata was written on the ocean. Images of nature serve as a waters of the sea. And here, as elsewhere, when in Naples, in 1708 several years after the metaphor for suffering and the text blends Handel trembled and blew the musical world earthquake. It was possibly written for the elements from classical mythology with nature felt both the joy and terror of his music.

- 12 - - 13 - TEXT AND TRANSLATIONS 8 Bel piacere è godere Poppea’s aria from Agrippina, Act III, 1 - 6 Gloria, HWV deest Scene 10, HWV 6

1 Gloria in excelsis Deo Glory to God in the highest Recitative: Recitative: 2 Et in terra pax and on earth peace Piega pur del mio cor nel dolce nido Fold then your wings, my Cupid, hominibus bonae voluntatis to people of good will placido le tue piume, oh mio Cupido! And rest in the sweet nest of my heart! 3 Laudamus te, benedicimus te, We praise you, we bless you, adoramus te, glorificamus te. we adore you, we glorify you. Aria: Aria: Gratias agimus tibi we give you thanks Bel piacere è godere fido amor! What a genuine pleasure it is to enjoy true love! propter magnum gloriam tuam for your great glory questo fà contento il cor. This makes a happy heart. 4 Domine Deus, Rex coelestis, Lord God, heavenly King, Di bellezza non s’apprezza lo splendor, The splendour of beauty cannot be appreciated, Deus Pater omnipotens. O God, almighty Father. Se non vien d’un fido cor. unless it comes from a true heart. Domine Fili unigenite Jesu Christe. Lord Jesus Christ, only begotten Son, Domine Deus Agnus Dei, Filius patris. Lord God, Lamb of God, Son of the Father, 0 Un pensiero nemico di pace 5 Qui tollis peccata mundi, You take away the sins of the world, Bellezza’s aria from Il Trionfo del Disinganno, miserere nobis. have mercy on us; Part 1, HWV 46a Qui tollis peccata mundi You take away the sins of the world, suscipe deprecationem nostram. receive our prayer. Un pensiero nemico di pace A thought hostile to peace Qui sedes ad dexteram You are seated at the right hand of the Father, fece il Tempo volubile edace, Caused fickle Time to be devouring Patris, misere nobis. have mercy on us. e con l’ali la falce gli diè. And gave him his wings and his scythe. 6 Quoniam tu solus sanctus, For you alone are the Holy One, tu solus Dominus, you alone are the Lord, Nacque un altro leggiadro pensiero, A second lighter thought arises, tu solus Altissimus, Jesu Christe. You alone are the Most High, Jesus Christ, per negare si rigido impero, to deny such rigid tyranny, Cum Sancto Spiritu With the Holy Spirit, ond’ il Tempo più Tempo non è. whereupon Time is Time no more. in Gloria Dei Patris in the glory of God the Father. Amen. Amen.

- 14 - - 15 - q - r Cuopre tal volta il cielo, HWV 98 w Aria q Accompagnato Tuona, balena, Thunder roars, lightning flashes, sibila il vento, the wind hisses, Cuopre tal volta il cielo This time an unforeseen dark cloud e l’etra s’oscura, the air is obscured, nube oscura improvvisa, covers the sky s’agita il mar. the sea is agitated. e tenebroso velo and a gloomy veil spande nera tempests spreads a black storm E rio spavento. And an evil fright in faccia al sole: over the sun’s face: barbara pena, a barbarous sorrow turbato il rio di duole, disturbed the river aches così congiura thus conspires e il tridentato Dio and the trident bearing God per tormentar. to bring torment. voragini spumanti opens sparkling chasms apre fra l’onde among the waves e Recitativivo ad assorbir le vele. to absorb sailing ships. Con impeto crudele, With cruel surge Così fiera procella Thus a fierce storm scuoton rapidi vanni aure nemiche, enemy wings stir their swift wings dà rio tormento, creates an evil torment e per le spiaggie apriche and over serene beaches e spaventar sa l’alme; and knows how to scare the soul; cadono dissipati e fronde e fiori: leaves and flowers fall scattered: ma le perdute calme, but I, the lost calm, feriscono gl’ orrori wounded horrors misero, assai più gemo wretched, complain more, che ingombrano di Giuno molli campi that clutter up Juno’s soft fields e mi querelo and I lament insidiosi lampi, treacherous lightning quando in tempesta miro when in the storm I see e repentino tuono and sudden thunder il volto del mio ben the face of my beloved fa più temer stir more fear ch’è pari al cielo; equal to the sky; con strepitoso suono. with resounding noise. torbido a me d’intorno cloudy around me ombre spande d’affanni, it spreads shadows of worry e sdegnosi, e tiranni; and disdainful, and tyrannous, or fuggitivi, or tardi, fugitives, delayed, lampi sono i suoi sguardi, her glances are flashes e son fulmini orrendi struck by horrendous lightning

- 16 - - 17 - i detti alteri, the haughty words SOPHIE BEVAN onde fra ciechi orrori waves of blind horror errano già confusi my thoughts already wander Sophie Bevan graduated from the Benjamin i miei pensieri. in confusion. Britten International Opera School where she was awarded the Queen Mother Rose Bowl Award. r Aria Conductors she works with include Sir Antonio Per pietà di miei martiri, Have mercy on my suffering Pappano, Daniel Harding, Andris Nelsons, sia, mio ben, and become, my love, Edward Gardner, Laurence Cummings, Sir l’arco del ciglio may the arch of your brow Mark Elder, Sir Neville Marriner and Sir sempre l’iride di pace. always be a rainbow of peace. Charles Mackerras. She is a noted recitalist and has performed at the Concertgebouw Che se irato a me lo giri, For if you turn it against me in anger Kleine Zaal with Malcom Martineau and made senza scampo nel periglio, without any escape in peril her Wigmore Hall recital debut with Sebastian la mia vita è più fugace. my life will be more fleeting. Wybrew to critical acclaim. Sophie has also appeared at the BBC Proms and the Edinburgh, Translations © Bridget Cunningham Aldeburgh and Tanglewood Festivals.

Her operatic roles for English National Opera include Despina Cosi fan tutte, soprano solos , Polissena , Yum Yum Mikado, Telair in Rameau’s Castor and Pollux and her first SophieDer Rosenkavalier. For Garsington Opera she has performed Pamina and her first , for Welsh National Opera she has sung the title role in The Festival debut as Michal in a new Cunning Little Vixen and for Frankfurt Opera production by Barrie Kosky. For the Royal she appeared as Ninetta in Rossini’s La Opera House, Covent Garden she has appeared gazza ladra. She made her Glyndebourne as Waldvogel Siegfried, Ilia Idomeneo and Pamina.

- 18 - - 19 - In 2010 Sophie was the recipient of the UK MARY BEVAN Caroline Mathilde Suite at the BBC Proms, Critics’ Circle Award for Exceptional Young Mendelssohn Symphony No.2 with the City of Talent in music. She was nominated for the Mary Bevan is one of Britain’s top emerging Birmingham Symphony Orchestra, Stravinsky 2012 Royal Philharmonic Society Awards and artists, receiving acclaim from critics and Pulcinella with the Prague Philharmonia was the recipient of The Times Breakthrough audiences alike for her stand out performances. and Handel Messiah with the English Award at the 2012 South Bank Sky Arts Awards In October 2014 Bevan was awarded the Concert. A dedicated recitalist, she has and the Young Singer award at the 2013 UK Critics’ Circle Award for Exceptional appeared at the Oxford Lieder Festival and inaugural International Opera Awards. Young Talent in music. the Wigmore Hall.

In the 2015/16 season Bevan sings the title Bevan’s recordings feature a selection of role in Rossi Orfeo for the Royal Opera House Ludwig Thuille songs and Mendelssohn’s at Shakespeare’s Globe, and Yum-Yum The complete songs for Champs Hill Records, Mikado at English National Opera. Recent Handel The Triumph of Time and Truth and operatic engagements include Susanna The Ode for St Cecilia’s Day with Ludus Baroque, Marriage of Figaro at ENO, Music & Euridice in Vaughan Williams Symphony No.3 and Monteverdi L’Orfeo with ROH at the Roundhouse, Schubert Rosamunde with the BBC Barbarina Le nozze di Figaro at the ROH, Philharmonic Orchestra, Hadley Fen and Flood Despina Così fan tutte, Papagena The Magic with the Bournemouth Symphony Orchestra, Flute and Second Niece Peter Grimes at and Handel in the Playhouse, a selection of ENO, Musetta La bohème at the St Endellion Handel songs with L’Avventura London for Festival, Servilla La Clemenza di Tito with Opella Nova Records. Classical Opera, and David Bruce’s The Firework Maker’s Daughter with The Opera Group, Bevan trained at the Royal Academy Opera,

Opera North and ROH2. Previous roles for ENO © Victoria Cadisch and is currently a Harewood Artist at ENO and also include Barbarina and Rebecca in Nico an Associate of the Royal Academy of Music. Muhly’s Two Boys. On the concert platform Bevan recently performed Mozart Requiem with the English Chamber Orchestra, Faure Requiem with the Philharmonia Orchestra, Maxwell Davies

- 20 - - 21 - BENJAMIN BEVAN BRIDGET CUNNINGHAM

Benjamin is the youngest of fourteen and as Bridget Cunningham is an international a child sang in the Family Choir. After a spell opera conductor, prizewinning harpsichordist, in the wine trade, Benjamin won a scholarship presenter and musicologist who trained at to study at the Guildhall School of Music the Royal College of Music. She has and Drama and then went on to sing roles researched, conducted and produced this series Scottish Opera, Welsh National Opera, of vocal and orchestral recordings of Handel Nationale Reisopera, The Royal Opera, English with sopranos Sophie Bevan and Mary Bevan, Touring Opera, Opera de Lausanne, The baritone Benjamin Bevan, and London Early Royal Danish Opera, Dijon Opera and at Opera with production by Grammy winning Garsington Opera. Chris Alder.

Conductors he has worked with include Bridget has conducted at venues such as Cornelius Meister, Paul Daniel, Francesco St Martin-in-the Fields, Grosvenor Chapel, St Corti, Thomas Adès, Martin André, Jac van James’s Piccadilly and St John’s Smith Square Steen and Thomas Zehetmair. in London and at venues and festivals throughout Europe and her repertoire has On the concert Platform, Benjamin has included Magic Flute, and Fairy performed with Bach Collegium Japan under Queen. She conducts several orchestras Mazaaki Suzuki, The English Concert with including London Early Opera, Music of the Harry Bickett, The Royal Northern Sinfonia with Spheres Ensemble and is associate conductor Paul McCreesh and with The Stavanger for the Schola Pietatis Antonio Vivaldi. She Symphony Orchestra under the direction of has a wide musical background as well as John Butt. Festival, Aix en Provence, Canterbury and The Early Music from performing Piazolla with Perth International Festival in Australia. the RTE Irish Chamber Orchestra live on Benjamin has sung at many of the notable Benjamin lives in Kent with his wife and Lyric Radio, to conducting recordings of early As a solo harpsichordist, Bridget has broadcast festivals including The Three Choirs Festival, two children and is a keen cricketer and tennis 20th Century English music composed by on Austria’s National Radio Stephansdom , the Northlands player and wine aficionado. George Butterworth. with pianist Angela Hewitt, performed as a

- 22 - - 23 - solo harpsichordist to Prince Charles and the LONDON EARLY OPERA Royal Family at Buckingham Palace and played at Château de Hautefort and Maison Violin I Viola Double Bass Bassoon Hine as part of Festi Classique in France. Adrian Butterfield (Leader) Alexis Bennet Kate Aldridge Zoe Shevlin Kirra Thomas Nichola Blakey Bridget Cunningham has been supported by Eleanor Harrison Theorbo Organ the Finzi Trust and the Worshipful Company Cello Alex McCartney Richard Vendome of Musicians as a Junior Fellow of the Royal Violin II Jennifer Bullock College of Music for her work in the Centre for Nicolette Moonen Emily Ashton Harpsichord Performance History where she researched Philip Yeeles Belinda Paul Bridget Cunningham Felicity Broome-Skelton Ann Allen Early Music and the collection of historic instruments and continues to coach singers. She regularly gives lecture recitals at National London Early Opera (LEO) established themselves the background of the music and coaches and art galleries and has opened ‘Watteau: The as a registered UK charity in 2011 at the directs the instrumentalists and singers. Drawings Exhibition’ at the Royal Academy of forefront of Baroque research and performance. Arts in London. As well as putting on operas, oratorios and This series of recordings really sets the scene concerts, they record material recently discovered of Handel’s colourful life, influences and She has recorded and presented several and unusual programmes in a thorough experience which inspire and nuance his programmes for SkyArts, RTE, Radio historical context. All members are leading magnificent output and musical legacy.Handel Stephansdom, Radio France and BBC exponents of early music and offer concerts, in Italy was recorded when the three international television documentaries including Messiah operas, oratorios, lecture recitals and educational and prizewinning Bevan singers all had a and Vivaldi’s Women. She has made a workshops. LEO is always keen to collaborate small window of opportunity to record an album recent harpsichord video for the Handel with other early music supporters and sponsors together for the very first and perhaps only House Museum, Brook Street, London and has in the promotion of this music with new time. Handel in Italy Volume 2 will be released recorded several radio broadcasts on Handel concerts and recordings. soon and will be followed by the next in the and the King James Bible for BBC Radio 3 and 4. See www.londonearlyopera.org series, Handel at Vauxhall and again will have extended CD booklet notes to give the LEO are conducted from the harpsichord by historical context to the music and enhance Bridget Cunningham who researches and explores pleasure for the listener.

- 24 - - 25 - These high quality performances and recordings with many hours of detailed research all require ongoing funding. With thanks to Jennifer Hassell, Roger Sydenham, Elizabeth Tompkins and Richard and Jane Lawson.

Recorded at Saint Jude-on-the-Hill, Hampstead, London, from 14-16 January 2013. We ask you to visit the Charity website to see ways of financially supporting future performances and recordings for your pleasure and education. Series Producer and Conception – Bridget Cunningham Producer – Chris Alder Recording Engineer – Neil Hutchinson, Classic Sound We are able as a charity to recover Gift Aid on donations made and also ask our supporters to use our web portal for online purchases [EASYFUNDRAISING.ORG.UK] , Orchestra Administrator – James Brookmyre recycling of mobile phones and or our crowd funding schemes to further the production Keyboard instruments supplied by Malcolm Greenhaulgh, Keith McGowan and Andrew Wooderson and benefit of future projects which we hope you will enjoy. Organ – Collins 3 stop chamber organ. Harpsichord – Wooderson double manual Blanchet copy of a Ruckers. 415 Hz pitch – due to the differing low Roman pitch and the high Venetian pitch used in Italy in the 18th century. Donations may be sent to Cover Image – iStock Photo Design and Artwork – Woven Design www.wovendesign.co.uk LONDON EARLY OPERA P 2015 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd 6 FRINTON ROAD © 2015 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd THORPE LE SOKEN Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. ESSEX Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, CO16 0HS or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.londonearlyopera.org www.signumrecords.com

London Early Opera UK CHARITY NUMBER: 1143989

- 26 - - 27 - COMING SOON FROM signumclassics

Handel at Vauxhall, Vol.1 Handel in Italy, Vol.2 London Early Opera Sophie Bevan, Mary Bevan, Benjamin Bevan Bridget Cunningham conductor London Early Opera Bridget Cunningham conductor

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

- 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD423 BLACK Job Title: Handel Italy

SIGNUM CLASSICS SIGCD423

HANDEL IN ITALY, VOL.1 VOL.1 ITALY, IN HANDEL

1 - 6 Gloria, HWV deest [15.55] Sophie Bevan soprano 7 Passacaille from the Overture to Rodrigo, HWV 5 [4.21] 8 Bel Piacere from Agrippina, Act III, Scene 10, HWV 6 [2.08] Mary Bevan soprano 9 Sonata for a Harpsichord with Double Keys in G major, HWV 579 [5.14] Bridget Cunningham harpsichord LONDON EARLY OPERA / CUNNINGHAM / OPERA EARLY LONDON 0 Un pensiero nemico di pace [4.22] from Il Trionfo del Tempo e del Disinganno, Part 1, HWV 46a LONDON EARLY OPERA / CUNNINGHAM Mary Bevan soprano q - r Cantata Cuopre tal volta il cielo, HWV 98 [11.14] Benjamin Bevan baritone

Total timings: [43.00]

,()!"/'a&+2/'a'#&"'/' %('('+%2()+ HANDEL IN ITALY, VOL.1 +" -.''"' !&CONDUCTOR

LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD423

CLASSICS Road, Perivale, Middx UB6 7JD, United Kingdom. P 2015 Signum Records DDD SIGCD423 © 2015 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 04232 8 SIGNUM