New collaboration between Jakub Józef Orliński and Il Pomo d'Oro Jakub’s sixth project features music by early baroque composers, including Monteverdi, Caccini, Frescobaldi, Kapsberger, Saracini, Netti, and Jarzębski Musicologist Yannis François researched the program and uncovered some extraordinary repertoire, now recorded for the first time (10 world premiere recordings) “With that album and this very specifically selected program I want to focus on the general meaning of word "beyond". Mostly to show people that this music is beyond its times. It is still relevant, it is still alive, vibrant, touching, engaging and entertaining.” – Jakub Józef Orliński
The scope and grandeur of Handel's operatic output – the musical variety and inventiveness, the depth of psychological insight, as well as the sheer volume of works – continue to astonish as new operas are brought to light and more familiar works are given productions and recordings that do justice to the material. Ariodante, written in 1735, is nowhere nearly as frequently performed as the more famous operas like Giulio Cesare, but neither is it entirely obscure, and there have been several very fine modern recordings. This version with Alan Curtis leading Il Complesso Barocco can be recommended without reservation to anyone coming to the opera for the first time or for anyone who's already a fan.
Major share in the pleasure Ziani's oratorio gives, the excellent singer, especially Furio Zanasi, who is David draws sensitively with his velvety soft baritone, and Giampaolo Bassoonto as an agile narrator. At Alan Curtis' sensitive line, they're reaching an er- count density and representational presence, which to breathless listening.
Handel's 1738 opera Serse (Xerxes) baffled audiences at first hearing with its mixture of tragedy and comedy, but that same mixture has resulted in the opera's steadily rising status in performance today. If you're maxed out on athletic opera seria performances, check it out: it has elements of a put-on of that genre. The plot is kicked off by Serse, the king of ancient Persia, praising a shade tree in the famous aria "Ombra mai fu," whose tune is also known as Handel. The role of Serse is written for a male countertenor (originally the castrato Caffarelli), who has to keep a level of seriousness as his character becomes involved in increasingly improbably romantic triangles.