23

Cecilia Bartoli mezzo-soprano – Les Musiciens du Prince orchestra – Ada Pesch leader

Programme

Simphony "The Arrival of the Queen of Sheba" (Solomon, HWV 67) Georg Friedrich Händel
Aria "Chiudi, chiudi" (Il Trionfo del Tempo e del Disinganno, HWV 46) Georg Friedrich Händel
Aria "Questa è la reggia mia" (Il Trionfo del Tempo e del Disinganno, HWV 46) Georg Friedrich Händel
Ouverture (Il Trionfo del Tempo e del Disinganno, HWV 46) Georg Friedrich Händel
Aria "Un leggiadro giovinetto" (Il Trionfo del Tempo e del Disinganno, HWV 46a) Georg Friedrich Händel
Aria "Lascia la spina cogli la rosa" (Il Trionfo del Tempo e del Disinganno, HWV 46) Georg Friedrich Händel
Concerto for oboe, HWV 287 Georg Friedrich Händel
Aria "Verso già l'alma col sangue" (Aci, Galatea e Polifemo), HWV 72 Georg Friedrich Händel
Ouverture (Rinaldo, HWV 7) Georg Friedrich Händel
Aria "Oh sleep, why dost thou leave me" (Semele, HWV 58) Georg Friedrich Händel
Aria "Oh ecstasi of happiness... Myself I shall adore" (Semele, HWV 58) Georg Friedrich Händel
Battaglia (Rinaldo, HWV 7) Georg Friedrich Händel
Recitative & aria "Mi deride... Destero dall'empia Dite" (Amadigi, HWV 11) Georg Friedrich Händel
Aria "Felicissima quest'alma" (Apollo e Dafne, HWV 122) Georg Friedrich Händel
Ouverture & "Entrée des songes funestes" (Ariodante, HWV 33) Georg Friedrich Händel
Aria "E vivo ancora?... Scherza infida in grembo al drudo" (Ariodante, HWV 33) Georg Friedrich Händel
Concerto grosso, HWV 303 Georg Friedrich Händel
Aria "Ah, che sol per te, Teseo... M'adora l'idol mio" (Teseo, HWV 9) Georg Friedrich Händel


The divine Cecilia Bartoli puts her legendary musicality to the service of airs by the greatest opera composer of his time, Georg Friedrich Handel. The poignant air “Lascia la spina” – which later became “Lascia ch’io pianga” – is a favourite encore for the mezzo-soprano. Here it is at the heart of a programme in the course of which the singer exploits her expressive palette and unique vocal agility to the full. The chilling “Verso già l'alma col sangue”, worthy of Purcell’s most moving scores, or the intense and highly perilous “Come nembo che fugge col vento”, which is a real technical and physical tour de force for the performer, all bear witness to this.