Händel - Opera Serse, HWV40 | Il Pomo d'Oro

George Frideric Händel (1685 - 1759)

Opera Serse, HWV40 [Original Version]
Dramma per musica in tre atti.

Libretto: after Silvio Stampiglia and Nicolo Minato

The first performance at the King's Theatre in London, on 15 April 1737.

Personaggi:
Serse: king of Persia by [Franco Fagioli]
Arsamene: brother of Serse, in love with Romilda by [Vivica Genaux]
Amastre: heiress of the Kingdom of Tagor and promised to Serse, disguised as a man by [Delphine Galou]
Ariodate: a prince, vassal to Serse by [Andrea Mastroni]
Romilda: his daughter, in love with Asamenes by [Inga Kalna]
Atlanta: her sister, secretly in love with Arsamenes by [Francesca Aspromonte]
Elviro: a facetious fellow, servant to Arsamenes by [Biagio Pizzuti]

ATTO PRIMO (00:00:00)
ATTO SECONDO (01:07:43)
ATTO TERZO (02:08:28)

Coro:
Sopranos: Elena Bertuzzi, Nadia Caristi, Paola Valentina Molinari
Mezzo-sopranos: Giulia Beatini, Paola Ciadella, Laura Fabris
Tenors: Massimo Altieri, Massimo Lombardi, Giuseppe Maletto
Basses: Guglielmo Buonsanti, Dario Previato, Marco Scavazza

Performers:
Violins I: Zefira Valova, Victoria Melik, Antonio de Secondi, Daniela Nuzzoli, Maria Grochotova
Violins II: Alfia Bakieva, Claudio Rado, Giacomo Catana, Alessia Pazzaglia
Violas: Stefano Marcocchi, Isabella Bison, Giulio d'Alessio
Cellos: Ludovico Minasi, Cristina Vidoni
Double bass: Grigory Krotenko
Bassoon: Carles Cristobal
Oboes & Flutes: Roberto de Franceschi, Clara Blessing
Harpsichord: Maxim Emelyanychev
Theorbo: Daniel Zapico
Trumpet: Jonathan Pia
Horns: Egon Lardschneider, Michael Pescolderung
Maxim Emelyanychev
Il Pomo d'Oro

[on period instruments]

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Artwork: The Consummation of Empire by Thomas Cole, 1836

Rezensionen

»Nachdem ›Ombra mai fu‹ verklungen ist, gesungen von Countertenor Franco Fagioli in einem feinen Vibrato, wie es sonst nur die besten Mezzosopranistinnen zu Gebote steht, fackelt und lodert es in dieser Oper bis zum Schluss, bis zu Serses berühmter Wutarie ›Crude furie‹, die Fagioli mit atemberaubender Virtuosität hinschmettert.« (Stereo, März 2019)

»Intensiv gestaltete Rezitative, ein jugendlich dynamischer Vortrag, dazu optimales Gespür für die Spannungsbögen von Händels Arien-Ketten machen diese Neueinspielung zum Vergnügen.« (crescendo 1 / 2019)

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