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George
Frideric HANDEL (1685–1759) Arias
Giulio Cesare in Egitto:
Da tempeste [6:16]
Rinaldo:
Lascia ch’io pianga [5:02]
Alcina:
Tornami a vagheggiar [4:32]
Teseo:
Dolce riposo, ed innocente pace [3:52]; Ira, sdegni, e furore … O stringerò el’ sen [4:36]
Apollo e Dafne:
Felicissima quest’alma [5:50]
Ariodante:
Il mio crudel martoro [11:12]
Rinaldo:
Vo’ far guerra [7:32]
Amadigi di Gaula:
Ah, spietato [5:33]
Semele:
Myself I shall adore [7:34]
Giulio Cesare in Egitto:
Piangerò, la sorte mia [6:20]
Semele:
Endless pleasure, endless love[3:32]
Danielle de Niese (soprano)
Les Arts Florissants/William Christie
no recording dates or venues given DECCA 475 8746 [71:52]
This young Australian-born soprano has risen to the stars within
just a few years, making her European debut in 2005. She has appeared
in a number of operas, including Gianni Schicchi, Falstaff (Nanetta), Le
nozze di Figaro and Ravel’s L’Enfant et les Sortilèges.
First and foremost she has specialised in baroque, primarily
Handel, so it was a natural choice to select a dozen Handel
arias for her debut recital.
She makes a flying start with Da tempeste from Giulio Cesare,
the opera in which she has reaped her greatest laurels. As a
calling card for a promising singer she could hardly have made
a more suitable choice. ‘Promising’ may seem like a parsimonious
adjective with which to greet a richly equipped artist. Even
though she seems fully fledged in this first number I do have
a couple of minor reservations later in the programme. Here,
though, she appears infallible: the fast coloratura poses no
problems. She is perfectly assured in her forward drive, enhanced
by the superb playing of Les Arts Florissant. Her intonation
is spot on and the tone is crystal clear.
That she also possesses a beautiful voice becomes manifest in Lascia
ch’io pianga from Rinaldo. This wonderful, sighing
aria, is sung with great sensitivity. The well-known Alcina aria
is truly impressive and de Niese also makes the most of the
first Teseo aria, one of Handel’s most enchanting pieces
arrayed with fine instrumental solos.
The rarely heard aria from Apollo e Dafne is another winner
both for the singing and the delicious accompaniment with plucked
strings and a ravishingly beautiful oboe d’amore solo.
When we reach the monumental aria from Ariodante, the reservations
begin to creep in. The singing is as vivid as before but there
are also signs of strain, a widening of vibrato that seems a
bad omen this early in her career. I understand that she wants
to sing this marvellous music but she should probably have waited
a few years. The martial Vo’ far guerra from Rinaldo also
seems heavy going for her. Otherwise this is an impressive aria
where a solo harpsichord is to the fore almost as much as the
singer.
The arias from Semele and Piangerò from Giulio Cesare again
suit her like a glove and thus the recital ends with flying
colours. I do, however, have another comment; more a comment
than pure criticism. Like some other baroque singers she sometimes
starts a long note ‘straight’ - with no vibrato at all - and
then she gradually opens up. This sometimes gives me a feeling
that the straight tone is not 100% on pitch. A vibrato sometimes
masks fallible intonation. But this may be a fault with me,
that my ears register the tone differently. What most endeared
this disc to me, besides Handel’s music which always has so
much to offer, was the fact that it the performances are so
very much alive. There isn’t a dull moment during these 70+
minutes. The honour for that has to be shared between Danielle
de Niese and William Christie, whom I have always admired as
one of the very best baroque conductors.
I have not seen the booklet and the back cover of the jewel-case,
since I have listened to the promotion material only but I trust
that Decca provide the missing information in the header as
well as the sung texts and translations. The material also included
a DVD with a live scene from Glyndebourne as well as clips from
the recording sessions, an interview and a picture gallery.
I suppose this will come with the finished product too. It definitely
adds further to the personality that shines through the sound
recording. The recorded sound is state-of-the-art.
I am looking forward to hearing more of Danielle de Niese: more Handel,
truly, but maybe in the not too distant future Mozart, Donizetti
and Massenet – three composers she mentions in interview.
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