Once established in London, Handel devised a new kind of music drama that won over the English audience and modernized the operatic stage: the oratorio. Revolutionizing English traditions, he imported the drama and color of Italy, and the voices of it’s greatest operatic castrati. Carlo Vistoli now presents this heritage, reviving some of the greatest Handel arias first sung in London by his illustrious compatriots.
Handel’s Italians: Italian Castrati In The London – Carlo Vistoli
Concerto Grosso in D minor, Op. 6 No. 10, HWV 328: I. Overture
Esther, HWV 50b (1732 Version)
Act II Scene 3: Aria. How Can I Stay When Love Invites
Act II Scene 3: Recitative. Who Dares Intrude Into Our Presence
Act II Scene 3: Duet. Who Calls My Parting Soul from Death?
Deborah, HWV 51
Act I Scene 3: Recitative. I Go Where Heav’n and Duty Call (1733 Version)
Act I Scene 3: Aria. All Danger Disdaining (1733 Version)
Act I Scene 1: Aria. Più bella spoglia sarà fral (1734 Version)
Act II Scene 2: Recitative. Great Prophetess, My Soul’s on Fire (1733 Version)
Act II Scene 2: Aria. in the Battle, Fame Pursuing (1733 Version)
Belshazzar, HWV 61 (1751 Version): Act I Scene 2
Recitative. Can You Then Think It Strange
Aria. Great God! Who Yet But Darkly Known
Theodora, HWV 68 (1750 Version)
Act I Scene 2: Recitative. Most Cruel Edict!
Act I Scene 2: Aria. the Raptur’d Soul Defies the Sword
Act II Scene 6: Accompagnato, Recitative. Forbid It, Heav’n!
Act II Scene 6: Duet. to Thee, Thou Glorious Son of Worth
Saul, HWV 53 (1741 Version): Act III Scene 5: Aria. Di Jonathan lo stral portò
Messiah, HWV 56 (1750 Version), Part I: Aria. But Who May Abide the Day of His Coming?
Athalia, HWV 52 (1735 Version)
Act III Scene 1: Recitative. Chi ha la pietade e ‘l zelo
Act III Scene 1: Aria. Cor fedele spera sempre
Act III: Recitative. Now, Josabeth, Thy Fears Are O’er
Act III: Aria. Angelico splendor
Carlo Vistoli, Le Concert D’Astrée, Emmanuelle Haïm
22,90€
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