Composer: Attilio Malachia Ariosti, Giovanni Battista Bononcini, Geminiano Giacomelli, Giovanni Antonio Giay, Antonio Lotti, Giovanni Maria Orlandini, Giovanni Alberto Ristori
Performer: Randall Scotting
Orchestra: Orchestra of the Age of Enlightenment
Conductor: Laurence Cummings
Format: FLAC (tracks)
Label: Signum
Catalogue: SIGCD719
Release: 2022
Size: 1.33 GB
Recovery: +3%
Scan: yes
01. Giay: Ricordati che offesa (from Eumene)
02. Ariosti: Lasso! Ch’io t’ho perduta (from Vespasiano)
03. Orlandini: Se cerca, se dice (from Olimpiade)
04. Ariosti: Caio Marzio Coriolano: March of the Dead
Orlandini: Adelaide, Act III
05. Adelaide, a te vengo (Ottone)
06. Vedrò più liete, e belle (Ottone)
Ristori: Adriano in Siria, Act III
07. Di vassallo, e d’amante (Farnaspe)
08. Son sventurato (Farnaspe)
09. Bononcini: Dolce sogno (from Griselda)
Giay: Eumene, Act II
10. Sì, tu trovasti (Eumene)
11. Fra l’orror d’atra foresta (Eumene)
Orlandini: Adelaide, Act II
12. Con due pegni (Ottone)
13. Non disperi peregrino (Ottone)
14. Giacomelli: Non so frenar il pianto (from Demetrio)
15. Bononcini: Affetto gioia (from Griselda)
16. Orlandini: Adelaide: Sinfonia ‘Minuet’
17. Ariosti: So che guarda (from Caio Marzio Coriolano)
18. Lotti: Non può quest’alma in sen (from Ascanio)
The legacy of the celebrity castrato Senesino has endured for centuries. He is known to us today primarily as Handel’s leading man for 13 seasons in London, and he was recognised the world over for his moving dramatic interpretations, fiery singing, and singular, over-the-top divo personality. Yet, Handel’s music for Senesino only shows us a fraction of the numerous virtuosic roles written for the castrato. Here, for the first time, are arias by seven overlooked composers who also wrote showpieces for the (in)famous Senesino. All but one of the arias on this album are modern-day premieres and heard together, they illuminate the talents of an 18th-century operatic icon.
Each of the composers on this album was a genuine musical talent, greatly admired for the refinement and skill of their compositions, but they are almost entirely forgotten today. What a fascinating bunch! One was a part-time spy for the future King of France, another a workaholic recluse, one was accused of plagiarism and banished from London entirely, and another worked a side-gig composing music for Italian comedians.
Randall Scotting signs here a magnificent album, and allows us to rediscover some very beautiful lyric arias from the 18th century.