Handel - Le Cantate Per Il Cardinal Ottoboni (2008)

Ero e Leandro (Qual tu riveggio), cantata for soprano, 2 oboes, strings & continuo, HWV 150:
1. Recitativo. Qual ti riveggio, oh Dio!
2. Aria. Empio mare, onde crudeli
3. Recitativo. Amor che, ascoso
4. Aria (Poco allegro e staccato). Se la mo
5. Recitativo. Questi dalla mia fronte
6. Aria (Adagio e piano). Si muora, si muor
7. Recitativo. Ecco, gelide labra
Nó se emenderà jamás, cantata, HWV 140:
8. Aria. No se emendará jamás
9. Recitativo. Si del quereros es causa
10. Aria. Dícente mis ojos
Spande ancor a mio dispetto, cantata for bass, 2 violins & continuo, HWV 165:
11. Aria. Spande ancor a mio dispetto
12. Accompagnato. Oh! Che da fiere pene
13. Aria (Andante). Da balza in balza
Ah! crudel, nel pianto mio, cantata for soprano & ensemble, HWV 78:
14. Sonata
15. Aria (Adagio). Ah! Crudelo, nel pianto mio
16. Recitativo. Non sdegnerai d'amar
17. Aria. Di quel bel ch'il ciel ti diede
18. Accompagnato e recitativo. Balena il cielo
19. Aria. Per trofei di mia costanza

Performer:
La Risonanza:
Fabio Bonizzoni, harpsichord and direction
Raffaella Milanesi, soprano
Salvo Vitale, bass
Mike Fentross, baroque guitar
Andrea Mion, oboe
Rey Ishizaka, oboe
Nick Robinson, solo violin
Carlo Lazzaroni, violin
Barbara Altobello, violin
Rossella Borsoni, violin
Silvia Colli, violin
Fabio Ravasi, violin
Gianni De Rosa, viola
Caterina Dell’Agnello, cello
Olaf Reimers, cello
Vanni Moretto, violon

In the third instalment in Fabio Bonizzoni’s survey of the secular cantatas with instrumental accompaniment composed by Georg Frideric Handel during his stay in Italy, come a quartet of works associated with the Venice-born maecenas Pietro Ottoboni – including the substantial Ero e Leandro, the libretto for which is plausibly considered to have been written by the Cardinal Ottoboni himself. As well as the seldom-performed cantata for bass, Spande ancora a mio dispetto and Ah! Crudel, nel pianto mio scored forsoprano solo, Bonizzoni also directs the Spanish-texted Nose emendará jamás.

In this latest outing Bonizzoni continues with his policy of bringing forward accomplished singers with an intense and direct feel for Handel’s Italian output. Where the first two volumes saw contributions from Roberta Invernizzi and Emanuela Galli, here, for this “Ottoboni” release, the spotlight falls on soprano Raffaella Milanesi and bass Salvo Vitale. As before, our understanding of this neglected area of Handel’s genius is enhanced by the accompanying booklet notes. Here they are provided by Livio Marcaletti, an expert on the music of Antonio Bononcini as much as on that of Handel. ---glossamusic.com

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