Although Handel was destined to become the
most illustrious representative of Italian opera of his era, he actually
spent very little time in Italy. However, it was during one of his
brief trips that he composed most of his cantatas aimed at a select
local private audience. The cantata differs from an operatic aria
because although it is composed of several pieces (sacred or profane) it
theoretically has no theatrical or dramatic characteristics. This form
flourished in particular in the baroque era in response to the new vogue
for “domestic” concerts. Handel composed approximately sixty cantatas,
mostly for the female voice. But a leopard cannot change its spots and
the form inevitably takes on a theatrical aspect in this musician’s
hands.
Surprisingly, the cantatas that Handel wrote in the earlier years of his
career remain relatively little known. The thrilling theatricality of
three works composed in Italy – Armida abbandonata, La Lucrezia and Aminta e Fillide
is savoured to the full by conductor Emmanuelle Haïm, soprano Sabine
Devieilhe, mezzo-soprano Lea Desandre and the instrumentalists of Le
Concert d’Astrée.
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