Handel: Italian Cantatas

Carlotta Colombo, Roberto Balconi & Fantazyas

Publicado el 27/5/22 por Brilliant Classics
Artistas principales: Carlotta Colombo Roberto Balconi Fantazyas
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In 1706, 21-year-old Handel arrived in Italy as a prodigious celebrity, already having caught the eye and won the patronage of the Medici family in Florence. George Frideric Handel (1685-1759) had probably encountered Gian Gastone de’ Medici, son of the Grand Duke of Tuscany, in Hamburg at some point before heading south to Italy, where he arrived in August 1706, staying in Florence as a guest of Ferdinando de’ Medici. Keen to acquire new creative inspiration, the following year the composer decided to visit Rome, where a number of powerful patrons chose to support him, including Cardinals Benedetto Pamphilj and Pietro Ottoboni. It was in Rome that Handel first composed oratorios. In the summer of 1707, he returned briefly to Florence to stage his first Italian opera, Rodrigo. He was soon back in Rome, however, finding the atmosphere there particularly stimulating for the production of his secular cantatas.

Further honours and rewards were heaped on Handel when he moved to Rome the following year and came under the sponsorship of the most cultured and influential of the city’s noble families. It was for them that he wrote a string of secular cantatas, on time-honoured and popular themes of arcadian and amorous bliss.

In 1706, 21-year-old Handel arrived in Italy as a prodigious celebrity, already having caught the eye and won the patronage of the Medici family in Florence. Further honours and rewards were heaped on him when he moved to Rome the following year and came under the sponsorship of the most cultured and influential of the city’s noble families. It was for them that he wrote a string of secular cantatas, on time-honoured and popular themes of arcadian and amorous bliss.

These Roman cantatas have received more attention from scholars and performers in recent years, but the four presented here are still relatively unfamiliar, beginning with the brief, hunting-themed Diana cacciatrice, HWV 79. This cantata’s striking feature is an aria with echo soprano and trumpet solo, while Alpestre monte is an anguished tale of betrayal and suicide, including a pair of ravishing arias (again for soprano). Faithfulness is once more the vexed question posed by the album’s best-known cantata, Tu fedel? Tu costante?

The searing purity of Carlotta Colombo’s soprano makes her a worthy successor to distinguished early-music specialists who have taken on the work, including Emma Kirkby. Conceived on a grander scale, Olinto pastore arcade alle glorie del Tebro is scored for three solo singers, to present an allegorical discussion between the shepherd Olinto, the river Tiber and the embodiment of Glory, concerning how the humble shepherd (a veiled allusion to Handel’s patron at the time) will restore Rome to her ancient greatness. © Brilliant Classics

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Handel: Italian Cantatas

Carlotta Colombo

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Diana Cacciatrice in D Major, HWV 79: I. La marche

Fantazyas