The Farinelli Manuscript
Anonymous, possibly Carlo Broschi FARINELLI (1705-1782) after Giovanni Antonio GIAY (1690-1764)
Son qual nave che agitate * [12.59]
Gaetano LATILLA (1711-1788)
Vuoi per sempre abbandonarmi? [11.00]
Niccolò CONFORTO (1718-1793)
Ogni dì più molesto [1.41]
Non sperar, non lusingarti [10.17]
Geminiano GIACOMELLI (1692-1740)
Quell’usignolo * [10.27]
Giovanni Battista MELE (1693/4-after 1752)
Io sperai del porto in seno [9.51]
Anonymous, possibly Geminiano GIACOMELLI
Invan ti chiamo, invan ti cerco, amato [3.12]
Al dolor che vo’ sfogando [11.57]
Ann Hallenberg (mezzo-soprano)
Stile Galante/Stefano Aresi
rec. 2019, Diemen (Schuilkerk De Hoop), The Netherlands
Sung texts and translations included
* Farinelli’s original da capos
GLOSSA MUSIC GCD923521 [72.04]
Stefano Aresi (conductor and leader of the early music group Stile Galante) wrote in the opening booklet notes to this CD: ‘At the end of March 1753, from Madrid where he had been residing since 1737, Carlo Broschi, “Farinelli”, sent to the Empress Maria Theresa a magnificent and lavish hand-written volume of some ninety pages, elegantly decorated with intricate ornamental frames and edgings in light and brilliant colours. The manuscript, today kept in the Österreichische Nationalbibliothek (Mus. Hs. 19111), contains eight pieces of music (six arias and two recitatives), which the celebrated castrato singer described in his preface as being “a small choice of those arias which, in an uninterrupted series over many years, have contributed in my mouth to the private comfort of my endearing Sovereigns.”’ We will never know what the castriti really sounded like (unless someone does manage to transform a Delorian into a time machine!), so it’s easy to understand the importance of this manuscript, as an outstanding testimony of Farinelli’s artistic and technical capabilities.
There have been a wealth of works about the famous castriti of the 17th and 18th Centuries – recordings, documentaries, studies and films made, and books written. In spite of it all, we can still only just imagine what they may have sounded like or get rather close to that special sound through some of the various CDs available, which have been recorded by present day singers. Celebrated countertenors, as for example Andreas Scholl and Philippe Jaroussky, as well as famous mezzo-sopranos, like Cecilia Bartoli and Vivica Genaux, have recorded arias composed for castrati successfully. And with the resurgence of Baroque Opera, singers capable of singing such roles are in great demand. Many of these have become trouser-roles for a lot of mezzo-sopranos. I favour a countertenor’s voice to that of a female singer but that is only my own personal view. Having said that, I must admit that I was surprised, indeed impressed, with the present CD – The Farinelli Manuscript –which is really a credit to Ann Hallenberg’s magnificent voice. To say that she is brilliant is an understatement. She gives a scintillating performance of rare quality and balance between sentiment, fireworks and clear legato lines. Owner of an assured, solid technique Ms Hallenberg appears to negotiate the many difficult passages with apparent easiness. Refined phrasing; clear enunciation; faultless coloratura; exquisite legato line; warm, confident high notes and a slightly dusky, darker quality to the lower range of her voice, are just some of the attributes she demonstrates in this disc. She sings all six arias and the two recitatives present in Farinelli’s manuscript, including two of Farinelli’s original da capos, meaning with the ornaments and variations he wrote himself and sang in his performances.
The difficulties are immense and not easy to overcome, especially for the singer but also for the musicians of the ensemble Stile Galante. Stefano Aresi, leader/conductor of the group, explains all this extremely well in the CD booklet notes that he wrote himself. His essay about The Farinelli Manuscript (also included in the booklet) makes for a very enjoyable, informative reading. Stile Galante are excellent throughout and make an outstanding job of supporting and highlighting the artistry and elegance of Ms Hallenberg’s voice.
For me personally, the problem with this CD (which isn’t really a problem but a matter of taste) is that I don’t particularly enjoy Baroque music and I’m not a big fan of da capo arias – I find them slightly boring – or of excessively ornamented music. The style of singing is therefore different from what one is used to hear today, which isn’t a bad thing. Ultimately, whether one favours it or not isn’t important. What I think matters is that, on the one hand, this recording represents a magnificent achievement for all musicians involved and, on the other, its accuracy and historical insight make it a little gem, as close to castrati’s voices (in particular of Farinelli’s) as one will ever be.
Adding to the quality of the performances, the sound is impeccable and the CD is beautifully presented in a hardback booklet format, containing attractive colour photographs of Ms Hallenberg and the musicians of Stile Galante in colour-coordinated clothes, as well as marvellous (if a tad too small – unavoidable due to a disc’s size) copies of some of the pages of the original Farinelli manuscript. I particularly liked these, as one can see not just the music but also the care that Farinelli took in completing the manuscript. It is delicately handwritten in colour and lovingly decorated. Additionally, the CD booklet contains also rather pretty reproductions of portraits of Farinelli, of other contemporary paintings, engravings and of a medal with the singer in profile. The notes are in English, French and German, and the sung texts are included in the original Italian with English translations.
Arias for the castrati or this particular style of singing may not be everyone’s cup of tea. However, if you admire beautiful singing, enjoy great performances of exceptional difficulty and have an interest in history, this recording shouldn’t be missed. Stile Galante and especially mezzo Ann Hallenberg are extraordinary throughout. Besides, this is a powerful document and the closest you’re likely to get to the singing of the most famous of all castrati – Carlo Broschi, better known as Farinelli.
Margarida Mota-Bull
Margarida writes more than just reviews, check it online at Flowingprose.com
