Orfeo 55 - Contralto - Import CD

Credits:

Orfeo 55

Description:

Natalie Stutzman's album sheds light on the deep-voiced female contralto singers of the Baroque era. Newly illuminated and known in modern times, the presence and talent of 18th century castrato singers such as Farinelli, Senezino, Carrestini, and Caffarelli have made the contralto voice relatively rare today, with countertenors and mezzo-sopranos taking the lead roles in Handel, Vivaldi, and their contemporaries, with the female bass voice occupying the lion's share of the leading roles in these operas. We must not forget that the great opera composers of the early 18th century considered the female contralto to be the equal of the male castrato; the two voices were interchangeable; the female voice was the voice of the contralto and the male voice was the voice of the mezzo-soprano." It was no exaggeration to say that a male character written for the voice of a contralto could be assigned to a castrato or a female, but the female would only get the job if no castrato was available. Essentially, even the most talented female singers of the period, even those who were revered by composers, could not have the same reputation as the castrato idolized by high society,' Stutzman said.On this album, sung while conducting Orfeo 55, an ensemble Stutzman founded a decade ago, feminists are placed on the agenda. It pays homage to the contralto singers of the Baroque era, women overshadowed by men. It reminds us once again that women are very often expected to come in second place. There are still efforts to achieve some kind of equality,' says Stutzman, and the contralto singers of the time chosen to pay tribute are Anna Marchesini, Vittoria Costi, Lucia Facinelli, and Giuditta Sturchenberg. And of particular importance is Vittoria Tesi, born in Florence in 1701, whose career reached its peak in the 1720s and 30s (also known as the first prominent black African singer in the history of Western music). She played the title role in two of Nicola Porpora's operas on the album, "Confirmation of Semiramis (Semiramide)," composed for Naples, and "Statira," composed for Venice.(1/2) Warner Music Japan

Tracklisting:

1.Tamerlano, HWV 18~Act 1. Dal crudel che m'ha tradita
2.Meride e Selinunte~Act 2. Torbido intorno al core
3.Ariodante, HWV 33~Overture to Act 2
4.Rinaldo, HWV 7b~Act 2. Mio cor, che mi sai dir?
5.Tito Manlio, RV 738~Act 1. Di verde ulivo
6.Farnace, RV 711~Act 2. Gelido in ogni vena
7.Berenice, HWV 38~Sinfonia to Act 3
8.Semiramide riconosciuta~Act 2. Tradita, sprezzata
9.Griselda~Act 2. Caro addio, dal labbro amato
10.Alessandro Severo~Sinfonia to Act 3
11.Arminio, HWV 36~Act 1. Sento il cor per ogni lato
12.Euristeo~Act 3. Sotto un faggio o lungo un rio
13.Bajazet, RV 703~Act 3. E morto, si, tiranno...
14.Bajazet, RV 703~Act 3. Svena, uccidi, abbatti, atterra
15.Statira~Act 1. Mira d'entrambi il ciglio
16.Amadigi di Gaula, HWV 11~Overture. 2. Gavotta
17.La fede tradita e vendicata~Act 2. Empia mano
18.Sosarme, re di Media, HWV 30~Act 2. Vado, vado al campo
19.L'incoronazione di Dario, RV 719~Sinfonia. 1. Allegro
20.L'incoronazione di Dario, RV 719~Sinfonia. 2. Andante e pianissimo
21.L'incoronazione di Dario, RV 719~Sinfonia. 3. Presto