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GCD 921523 Le Cantate Italiane di Handel, III New release information December 2007 La Risonanza & Fabio Bonizzoni NOTES (ENG) NOTES (FRA) In the third instalment in Fabio Bonizzoni’s Dans le troisième volume du parcours de survey of the secular cantatas with instrumental Fabio Bonizzoni dans le corpus des cantates accompaniment composed by Georg Frideric profanes avec accompagnement instrumental Handel during his stay in Italy, come a quartet que Georg Friedrich Haendel composa durant of works associated with the Venice-born son séjour en Italie, le chef milanais présente maecenas Pietro Ottoboni – including the un quatuor d’œuvres associées au cardinal substantial Ero e Leandro, the libretto for Pietro Ottoboni : ce mécène vénitien, dont le which is plausibly considered to have been faste était célèbre dans toute l’Europe, a très written by the Cardinal Ottoboni himself. As probablement écrit le livret de la remarquable well as the seldom-performed cantata for bass, cantate intitulée Ero e Leandro. Aux côtés de Spande ancora a mio dispetto and Ah! Crudel, Spande ancora a mio dispetto, la cantate pour nel pianto mio scored for soprano solo, voix de basse, rarement interprétée et de Ah! Bonizzoni also directs the Spanish-texted No Crudel, nel pianto mio, écrite pour soprano, G. F. Handel se emendará jamás. nous trouvons dans ce disque la cantate sur Italian Cantatas, vol. III un texte espagnol ayant pour titre No se Le Cantate per il Cardinal Ottoboni In this latest outing Bonizzoni continues with emendará jamás. his policy of bringing forward accomplished Raffaella Milanesi, soprano singers with an intense and direct feel for Bonizzoni applique ici encore sa somptueuse Salvo Vitale, bass Handel’s Italian output. Where the first two politique consistant à ne choisir que des voix de volumes saw contributions from Roberta premier ordre, pouvant apporter la touche et La Risonanza Invernizzi and Emanuela Galli, here, for this l’intensité nécessaires à l’italianità du jeune Mike Fentross, Andrea Mion, Rey Ishizaka, “Ottoboni” release, the spotlight falls on Haendel. Alors que Roberta Invernizzi et Nick Robinson, Carlo Lazzaroni, soprano Raffaella Milanesi and bass Salvo Emanuela Galli se partageaient la vedette des Barbara Altobello, Rossella Borsoni, Silvia Colli, Vitale. As before, our understanding of this deux premiers volumes, dans cet « Ottoboni » Fabio Ravasi, Gianni De Rosa, neglected area of Handel’s genius is enhanced les projecteurs sont braqués sur la soprano Caterina Dell’Agnello, Olaf Reimers, by the accompanying booklet notes. Here they Raffaella Milanesi et la basse Salvo Vitale. De Vanni Moretto are provided by Livio Marcaletti, an expert on même que dans les volumes antérieurs, les Fabio Bonizzoni, director the music of Antonio Bononcini as much as notes du livret nous permettent de mieux aborder on that of Handel. cette aire négligée du génie haendelien. C’est Glossa GCD 921523 au tour de Livio Marcaletti, expert dans les Full-price digipak musiques de Bononcini et de Haendel, de nous guider dans les cantates du compositeur saxon. Programme NOTAS (ESP) NOTIZEN (DEU) Georg Friedrich Haendel (1685-1759) Italian Cantatas En el tercer volumen del recorrido que Fabio Der dritte Teil von Fabio Bonizzonis Einspielungen 1-7 Ero e Leandro (Qual ti riveggio), HWV 150 Bonizzoni está realizando por el corpus de weltlicher Kantaten mit Instrumentalbegleitung cantatas profanas con acompañamiento aus Georg Friedrich Händels italienischer Zeit 8-10 No se emendará jamás, HWV 140 instrumental que Georg Friedrich Haendel beinhaltet vier Werke, die in Zusammenhang compuso durante su estancia en Italia, el director mit dem in Venedig geborenen Mäzen Pietro 11-13 Spande ancora a mio dispetto, HWV 165 milanés presenta un cuarteto de obras asociados Ottoboni stehen. Darunter ist auch die bekannte por el mecenas Pietro Ottoboni, incluyendo la Kantate Ero e Leandro, deren Libretto mit hoher 14-19 Ah! Crudel, nel pianto mio, HWV 78 muy notable Ero e Leandro, cuyo libreto se Wahrscheinlichkeit Kardinal Ottoboni selbst considera con bastante fundamento que pudo verfasst hat. Neben der selten aufgeführten haber sido escrito por el mismo Cardenal Bass-Kantate Spande ancora a mio dispetto Production details Ottoboni. Además de la raramente interpretada und Ah! Crudel, nel pianto mio für Sopran cantata para bajo Spande ancora a mio dispetto dirigiert Bonizzoni auch die Kantate No se Total playing time: 66’32 y de Ah! Crudel, nel pianto mio, escrita para emendará jamás über einen spanischen Text. soprano, el disco incluye la cantata con texto Recorded at the English Church, Den Haag, en español titulada No se emendará jamás. In dieser neuesten Veröffentlichung verfolgt Holland, in January 2007 Bonizzoni seine Strategie weiter, versierte Engineered by Adriaan Verstijnen Bonizzoni continúa en esta entrega con su Sänger herauszubringen, die einen intensiven Produced by Tini Mathot política de utilizar a una variedad de cantantes und direkten Zugang zu Händels italienischen Executive producer: Carlos Céster de primera fila que puedan aportar un toque Werken haben. Während in den ersten beiden intenso y directo a estas obras «italianas» de CDs Beiträge von Roberta Invernizzi und Design 00:03:00 oficina tresminutos Haendel. Si los primeros dos volúmenes Emanuela Galli zu hören waren, stehen in dieser Booklet essay by Livio Marcaletti contaban con la colaboración de Roberta »Ottoboni«-Aufnahme nun die Sopranistin English Français Deutsch Español Invernizzi y de Emanuela Galli, en este Raffaella Milanesi und der Bassist Salvo Vitale «Ottoboni» el foco se centra en la soprano im Rampenlicht. Wie auch in den vorangegan- Raffaella Milanesi y el bajo Salvo Vitale. Igual genen Aufnahmen dienen die begleitenden que en ocasiones anteriores, las notas Ausführungen im Booklet zum besseren Ver- contenidas en el libreto nos ayudan a ständnis dieser vernachlässigten Werke des comprender este repertorio tan desatendido genialen Händel. Diese wurden von Livio de Haendel. Aquí es el profesor Livio Marcaletti, Marcaletti, einem ausgewiesenen Kenner der experto en las músicas de Bononcini y de Musik von Antonio Bononcini wie auch der Haendel, quien nos guía por las cantatas del Werke Händels, verfasst. maestro sajón. 8 424562 21523 8 www.glossamusic.com Fabio Bonizzoni talks about the third volume of Handel cantatas by Mark Wiggins In addition to being associated with Pietro of these works; positive discussions to add to the Ottoboni, do the cantatas on this new disc ongoing work of our staff of musicologists who reflect a unity of approach in Handel’s assist me in preparing each new programme. Thus composing at the time? there is a process of continuous development going on! That process is including us working on Rather than representing a unified set of the substantial dramatic cantata Clori, Tirsi e characteristics I feel that the three Italian-texted Fileno (Cor fedel in vano speri). We are also cantatas here demonstrate their own individuality. reconsidering a number of issues involved with During these years in Italy Handel was proving La Resurrezione, the oratorio which we are due to be extremely flexible in his approach towards to be recording in 2009. composition; the better to adapt to – or indeed to build on – the librettos that he was presented La Resurrezione is not the only oratorio of with. Of the three works Ero e Leandro is perhaps Handel that you are currently considering in the most striking. The strength of the text seems that you are also performing Messiah this to have drawn a very deep response from Handel: year in various cities in Spain. What do you the extreme sentiments within it inspired him to make of this, substantially later, composition? produce matchingly extreme solutions in painting the despair of Ero in music. Two examples of this Naturally I think that Messiah is a great work, one can be seen in the striking contrast between the which was perfectly suited for the purposes it was “A” part of the first aria (which depicts Ero’s written for. You can see how successful Handel was tempestuous sentiments) and its corresponding in working in this way from the masterly control “B” part (which, I would add, I believe is one of that he was able to give to his activities as an the most touching lamentos ever written), and impresario in London. There is a substantial gap secondly, the incredible strong power encapsulated between the Italian cantatas and Messiah, not just in the last aria, a true marche funèbre, suffused in terms of the years that separate them but in with the dark colour of the violins and the unison their projected audiences. The Italian cantatas oboes. When one considers Spande ancora a mio were intended for a small but highly-cultivated and dispetto it seems to be the case that Handel had select audience whilst Messiah is much more of a In the third instalment in Fabio Bonizzoni’s survey access in Italy to bass singers with incredibly wide “popular” work. I am using “popular” in a positive of the secular cantatas with instrumental tessituras: that is why his bass compositions of sense here, the more so because Messiah is accompaniment composed by Georg Frideric Handel this time tend to be at the limit of vocal incredibly effective seen in this light. I consider during his stay in Italy, come a quartet of works possibilities. Although the writing in this cantata that the distance between the cantatas and Messiah associated with the Venice-born maecenas Pietro is not as intense as you find in the famous Polifemo is basically the same as that which separates those Ottoboni – including the substantial Ero e Leandro, role it is still very exacting and well-written for same cantatas from the works of, for example, the libretto for which is plausibly considered to the bass. Vivaldi. By this I mean that with the cantatas there have been written by the Cardinal Ottoboni himself.