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Nathalie Stutzmann – Contralto (24/96 FLAC)

Nathalie Stutzmann - Contralto (24/96 FLAC)

Nathalie Stutzmann – Contralto (24/96 FLAC)

Performer: Nathalie Stutzmann, Orfeo 55
Conductor: Nathalie Stutzmann
Format: FLAC (tracks)
Label: Warner
Release: 2021
Size: 1.79 GB
Recovery: +3%
Scan: yes

01. Georg Friedrich Handel
Tamerlano, HWV 18, Act I: “Dal crudel che m’ha tradita” (Irene)

02. Nicola Porpora Porpora
Meride e Selinunte, Act II: “Torbido intorno al core” (Ericlea)

Georg Friedrich Handel
03. Ariodante, HWV 33: Overture to Act II
04. Rinaldo, HWV 7b, Act II: “Mio cor, che mi sai dir?” (Goffredo)

Antonio Vivaldi
05. Tito Manlio, RV 738, Act I: “Di verde ulivo” (Vitellia)
06. Farnace, RV 711, Act II: “Gelido in ogni vena” (Farnace)

Georg Friedrich Handel
07. Berenice, HWV 38: Sinfonia to Act III

Nicola Porpora
08. Semiramide riconosciuta, Act II: “Tradita, sprezzata” (Semiramide)

09. Giovanni Bononcini
Griselda, Act II: “Caro addio, dal labbro amato” (Griselda)

Antonio Lotti
10. Alessandro Severo: Sinfonia to Act III

Georg Friedrich Handel
11. Arminio, HWV 36, Act I: “Sento il cor per ogni lato” (Ramise)

Antonio Caldara
12. Euristeo, Act III: “Sotto un faggio o lungo un rio” (Erginda)

Antonio Vivaldi
13. Bajazet, RV 703, Act III: “È morto, sì, tiranno… ” (Asteria)
14. Bajazet, RV 703, Act III: “Svena, uccidi, abbatti, atterra” (Asteria)

Nicola Porpora
15. Statira, Act I: “Mira d’entrambi il ciglio” (Statira)

Georg Friedrich Handel
16. Amadigi di Gaula, HWV 11: Overture – II. Gavotta

Francesco Gasparini
17. La fede tradita e vendicata, Act II: “Empia mano” (Ernelinda)

Georg Friedrich Handel
18. Sosarme, re di Media, HWV 30, Act II: “Vado, vado al campo” (Erenice)

Antonio Vivaldi
19. L’incoronazione di Dario, RV 719, Sinfonia: I. Allegro
20. L’incoronazione di Dario, RV 719, Sinfonia: II. Andante e pianissimo
21. L’incoronazione di Dario, RV 719, Sinfonia: III. Presto
22. Ginevra principessa di Scozia, RV 716, Act II: “Degli Elisi dal soggiorno” (Lurcanio)

Antonio Lotti
23. Alessandro Severo: Sinfonia – I. Allegro
24. Alessandro Severo: Sinfonia – II. —
25. Alessandro Severo: Sinfonia – III. Presto

Georg Friedrich Handel
26. Berenice, HWV 38: Overture – III. Andante larghetto
27. Rinaldo, HWV 7b, Act III: “Sorge nel petto” (Goffredo)

Contralto Nathalie Stutzmann shines a light on the deep-voiced female singers of the Baroque era, often overshadowed by the extravagant talents and reputations of castrato singers like Farinelli and Caffarelli. Her programme of Handel, Vivaldi, Porpora, Bononcini, Caldara and Gasparini displays the variety of operatic roles – both female and male – assumed by contraltos like Vittoria Tesi and Anna Marchesini. “We must remember that the opera composers of the early 18th century saw the female contralto and the male castrato as vocally interchangeable,” says Stutzmann, “and that the voice most closely resembling a castrato is not the countertenor – produced using a falsetto technique – but the contralto, which is a natural voice.” Stutzmann both sings and conducts Orfeo 55, the instrumental ensemble she founded a decade ago.

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