Hasse Artaserse

A classic work of its genre and historical period, Artaserse was premièred in Venice in 1730 by the most famous singers of the day: Farinelli in the role of Arbace, Cuzzoni as Mandane and the castrato Nicolino as Artabano. Following its initial success, Hasse produced two different versions of the work, the first in 1740 and the second in 1760. This world première recording is based on the original Venice version. The exceptional cast features countertenor Franco Fagioli in the role originally taken by Farinelli, his stunning technique making light of the 3-octave range with uniform timbre, remarkable power and striking resonance. Equally memorable is the aria “Pallido sole” sung by Sonia Prina.

Known for her idiosyncratic performances of baroque repertoire and eccentric personal style, the German coloratura soprano Simone Kermes trained in her native Leipzig, with early successes including the International Johann Sebastian Bach Competition. Bach has not, however, figured prominently in her career since then – Kermes gravitated towards Vivaldi, Handel and the Neapolitan composers who wrote for the great castrati, such as Riccardo Broschi, Alessandro Scarlatti and Porpora. (She has recorded several solo albums of such repertoire for Sony, including Dramma, and Colori d’Amore – reviewing the latter, BBC Music Magazine described her as ‘a remarkable artist, charming, fascinating and boldly risk-taking by turns’).

Philippe Jaroussky brings his musical and dramatic powers to a programme of music from Italian oratorios of the baroque era, including five arias in world premiere recordings. La vanità del mondo, takes it's name from an oratorio by Pietro Torri and among the other composers are Händel, Scarlatti, Vivaldi, Hasse, Fago and Caldara. "I think composers of this period often give of their best when setting the great stories of the Old Testament," says Jaroussky. "And if oratorio stories are more static than opera, they allow for deeper reflection on the place of mankind in the universe. I think that resonates with particular intensity in 2020, a year of pandemic."

No less than five brilliant countertenors – including Max Emanuel Cencic and Philippe Jaroussky – join conductor Diego Fasolis and Concerto Köln for Artaserse by Leonardo Vinci (1690-1730). In early 18th century Italy, the Neapolitan-born composer was one of the brightest stars in opera, and Artaserse is considered his masterpiece.

This recording of Artaserse by Leonardo Vinci (1690-1730) – born in Naples and, during his short life, celebrated as one of Italy’s leading composers of opera – represents the fourth Virgin Classics collaboration between countertenor Max Emanuel Cencic and conductor Diego Fasolis. It follows an album of Handel arias, Handel’s opera Faramondo and, in 2011, Vivaldi’s opera Farnace – “The performance fairly crackles, with accomplished singing by the flamboyant countertenor Max Emanuel Cencic in the virtuoso title role,” said the Telegraph in the UK…

(Forum Opéra, France.)

The outstanding young countertenor Valer Barna-Sabadus has chosen works by a composer who was highly esteemed in his lifetime, but slipped into oblivion. The artist writes “My aim is to give new life to these works… one that places the individuality of the musical works in the forefront.”

Faustina Bordoni was one half of Handel’s so-called ‘Rival Queens’ for just under three seasons (172628), and in 1730 she married Hasse in Venice – so Vivica Genaux’s recital of arias for Faustina by Handel and Hasse is such an obviously sensible idea that it’s amazing it hasn’t been done before. Quantz praised Faustina’s immaculate articulation and excellent trills – and Genaux lives up to that vocal artistry brilliantly with the copious trills and arching melodic phrases in the long but lovely ‘Piange quel fonte’ from Hasse’s Numa Pompilio.

Compact disc buyers who purchased Andreas Scholl's disc of Handel arias on Harmonia Mundi barely a month before HEROES was released may wonder why they might need the present recital, with its further helping of Handel. One listen will stop the wondering! The key is the non-Handel portion of the program. That Scholl is excellent in baroque music is well-established by his recordings for Harmonia Mundi. But with selections by Hasse, Gluck, and a young Mozart, he demonstrates his talent for later music as well.