Search - Roberta Invernizzi, Fabio Bonizzoni, Romina Basso :: Clori, Tirsi e Fileno: Haendel Italian Cantatas, V

Never Let a Mere Nymph Break Up a Friendship

Giordano Bruno | Wherever I am, I am. | 06/25/2009

(5 out of 5 stars)

"This is the fifth release in the glorious La Risonanza project of recording all the Italian cantatas of G. F. Handel (1685-1759), composed chiefly while "the Dear Saxon" was living in Rome on the largesse of patrons, particularly of the Ottoboni and Pamphilij families. These munificent aristocrats all had their scions in the College of Cardinals, all maintained lavish households, and all were members of the Arcadian Academy. Many of Handel's cantatas were written to be performed at elaborate private celebrations with Arcadian themes, and with no stinting on the employment of musicians. The first four volumes of La Risonanza's project, directed by Fabio Bonizonni, have been a revelation to Baroque music lovers, of the genius of the young Handel. The performances are superb in every way.



Volume five features the 75-minute cantata "Clori, Tirsi e Fileno" for three voices with three violins obbligato, in the second version prepared by Handel for a wedding in Naples in 1708; the only difference from the first is the addition of a celebratory trio to conclude the musical drama. Tirsi and Fileno are shepherd lads - friends - enamored of the same flighty shepherdess, Clori, who pledges fidelity to both swains. The lads overhear her fibs, become outraged, and declare that male bonding is preferable to female inconstancy. They swear to be deceived no more.



The libretto, perhaps commissioned by the Marchese Ruspoli, a prominent Arcadian, is clever and light-hearted but unmistakably misogynistic. There's a 'homoerotic' flavor to many of the works associated with the Arcadian Academy's activities. If the historical questions of homoeroticism among the Counter-Reformation intellectuals of Rome and of Handel's own erotic proclivities are of interest to you, I recommend the solid musicological scholarship of the book "Handel as Orpheus" by Ellen T. Harris, which I have reviewed. Otherwise, don't let any such issues interfere with your enjoyment of this exuberant, exhilarating music. Handel knew the worth of his Roman cantatas; many of the finest and most familiar arias from his later London operas and oratorios were recycled from the Italian works.



The three singers of la Risonanza - sopranos Roberta Invernizzi and Yetzabel Aria Fernandez, alto Romina Basso - are simply dazzling. What more can I say? Perfect breath control and phrasing, perfect pitch control and ensemble technique, and vocal agility that would gain a gymnast Gold in the Olympics. Though the three violins are most eloquently prominent, the instrumental ensemble of La Risonanza includes viola, cello, two double basses, oboes, recorders, archlute, and harpsichord -- a small baroque orchestra in fact -- all played exquisitely.



This is as close to a flawless performance as you'll ever hear, yet amazon declares that it is unavailable. How odd! I ordered my copy from amazon months ago; I received it in due time, and I've been waiting for the review function to open. My guess is that it sold out instantly, on the basis of the quality of the previous volumes I-IV. I strongly recommend looking for this CD from any possible outlets, at any price. It's that good."