Notes and Editorial Reviews
Aure soavi e liete,
Del bell’idolo mio,
O lucenti, o sereni occhi,
Tra le fiamme,
Marco Vitale, cond; Stefanie True (sop); Contrasto Armonico (period instruments)
Text and Translation)
Hallelujah! I have long hoped that someone would give us a complete recording of Handel’s cantatas. We have had multiple complete recordings of Bach’s cantatas, but most of Handel’s remain unrecorded. And it is the cantatas with instrumental accompaniment that have received the overwhelming attention of the recording industry. Glossa is currently finishing its series of recordings of the instrumental cantatas. The cantatas accompanied by continuo, which account for about 80 percent of the total, have had far fewer recordings.
This recording is labeled “Complete Cantatas, Volume 2.” It appears that each volume will have a mixture of instrumental and continuo cantatas. Volume 1 contains the instrumental cantata
Da qual giorno fatale
and three continuo cantatas, with the same artists as Volume 2.
Handel’s cantatas were mostly composed during his stay in Italy, although some were composed later in Hanover and London. Almost all are in Italian, but there are a few in French, Spanish, and English. Most deal with the frustrations of love. The vast majority are for solo soprano, although some feature two or three soloists.
Brilliant has made an excellent start to its project. Stefanie True has a beautiful voice. It is warm, and she is able to color it for expressive purposes in response to the text. She is adept at coloratura and has a good trill. Marco Vitale provides sympathetic support, and his period band plays expertly. Of the two instrumental cantatas,
is lightly scored, for violin and continuo. Vitale uses a solo violinist.
Tra le fiamme
is much more elaborately scored, for recorders, oboes, strings, and continuo, with viola da gamba
. Only once was I disappointed with Vitale’s direction. The aria “Voli per l’aria” in
Tra le fiamme
is simply too fast; the soloist and orchestra must scramble to keep up.
Both of the instrumental cantatas have been recorded numerous times.
has six additional recordings listed at ArkivMusic. Of those I have heard, two (on Phoenix Editions and Bongiovanni) are poorly sung (see reviews in
33:2 and 23:4, respectively). Glossa offers stiffer competition. Emanuela Galli offers a generally good performance, although I find Stefanie True’s voice more pleasing. In addition, Bonizzoni on Glossa takes the aria “Quel povero core” very slowly, almost two minutes longer than Vitale, which sounds excessive to me. Bernard Jacobson had high praise for Patrice Michaels on Cedille (
Tra le fiamme
has eight additional recordings in the current catalog. It has had numerous good recordings. I am familiar with two of them. On L’Oiseau-Lyre, Emma Kirkby and Christopher Hogwood give an outstanding performance, and Hogwood finds a better tempo for “Voli per l’aria” than Vitale. I do not care for the voice of Roberta Invernizzi, who sings this cantata in the Glossa series, though I know other of my colleagues differ from me in this. Also, Bonizzoni turns in the fastest reading of the three I am familiar with, to the detriment of the music in my view. (Brian Robins gives a very positive review in
30:4.) Of the recordings I have not heard, those on Chandos (22:2), Raumklang (23: 6), Naïve (formerly on Astrée, 24:1), and Archiv (24:5) have received positive reviews from
In the notes to Volume 1 of the series, Vitale discusses differences in pitch in various regions and states that he intends to perform each set of cantatas at the pitch in use where the cantatas were written. For Volumes 1 and 2 that area is Rome, and Vitale has settled on A = 392 as the pitch for these performances. He claims this gives the works a more intimate sound. I don’t know that I would necessarily agree with that, but the pitch does make the works sound less bright. Compare, for example, Vitale’s
Tra le fiamme
with Hogwood’s, which uses the pitch A = 415, for a demonstration of the different effect of the two pitches. Glossa does not specify the pitch used, but it sounds very close to Vitale’s.
Texts and translations are included, and Handel scholar Ellen Harris provides the notes. All five cantatas receive outstanding performances, with the three continuo cantatas being new to the catalog. I look forward with excitement to future releases in the series.
FANFARE: Ron Salemi
Works on This Recording
Tra le fiamme, HWV 170 by George Frideric Handel
Stefanie True (Soprano)
Contrasto Armonico Baroque Orchestra
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