Jane Chapman - The Lady's Banquet, Vol. 1: Aires From the Opera Curiously Set (1995)
Jane Chapman - The Lady's Banquet, Vol. 1: Aires From the Opera Curiously Set (1995)
EAC | FLAC | Image (Cue & Log) ~ 491 Mb | Total time: 74:59 | Scans included
Classical | Label: Collins Classics | # 14562 | Recorded: 1995
EAC | FLAC | Image (Cue & Log) ~ 491 Mb | Total time: 74:59 | Scans included
Classical | Label: Collins Classics | # 14562 | Recorded: 1995
A curious appendix in a couple of the Handel Gesellschaft volumes offers ornamental harpsichord arrangements by William Babell of airs from Handel operas. He in fact published a large number of versions of extracts from popular operas of the time, and these gained wide circulation both in this country and abroad in collections aimed at genteel young ladies (for whom a modest competence at the keyboard was a social asset). The transcriptions from Handel's Rinaldo (1711) are so elaborately smothered in brilliant scales, arpeggios and other embellishments that Hawkins averred that ''few could play the lessons but himself'', and Burney acidly commented that Babell ''acquired great celebrity without the assistance of taste''; but the versions of works by other composers that had been produced in London in 1709 and 1710 are much less ornate and were clearly designed for players of modest attainments.
Jane Chapman presents a score of these curiosities on a fine Kirckman harpsichord of 1766 fitted with a 'crescendo' pedal, which she uses with effect in the extraordinary fantasia on ''Vo far guerra'' (complete with coruscating cadenza). Also from Rinaldo here are the overture (strangely ending in the dominant) and four more arias, of which the immense verve with which ''Bel piacer'' is played is captivating, but of which ''Lascia ch'io pianga'' is much the most famous. There is also a siciliano aria stated to be from Handel's Antiochus, a work of which I have never heard and which sounds very unlike Handel.
It has to be said that five arias from Mancini's Hydaspes (which caused a stir by a mock fight with a lion in its Third Act), two from a Bononcini pasticcio (according to Burney, ''the first opera performed in England wholly in Italian, by Italian singers''), and even two from an English version of Scarlatti's Pirro e Demetrio, are musically less interesting than the pair from Conti's lost Clotildo. But altogether admirable is the vitality with which Jane Chapman here sheds light on early eighteenth-century domestic music-making.–Lionel Salter
Performer:
Jane Chapman, harpsichord
Tracklist:
George Frideric Handel (1685-1759)
01. "Vo far guerra" (from Rinaldo)
02. "Se in Ombre Nacosta" (from an opera attributed Handel)
03. "Lascia ch'io pianga" (from Rinaldo)
04. "Bel piacere" (from Rinaldo)
05. "Sulla routa di fortuna" (from Rinaldo)
Francesco Mancini (1672-1737)
06. "Ritorna gia" (from Hydaspes)
07. "Se credi" (from Hydaspes)
08. "Vi fara" (from Hydaspes)
09. "In non voglio" (from Hydaspes)
10. "Mostro crudel" (from Hydaspes)
Giovanni Bononcini (1670-1747)
11. "Perte sol" (from Almahide)
12. "Alvariar" (from Almahide)
Francesco Bartolomeo Conti (1681-1732)
13. "Man in Imagination" (from Clotildo)
14. "Rimirarvi" (from Clotildo)
Alessandro Scarlatti (1660-1725)
15. "Kindly Cupid" (from Pirro e Demetrio)
16. "Rise O Sun" (from Pirro e Demetrio)
George Frideric Handel
17. Overture (from Rinaldo)
18. "Questo Conforto Solo" (from Antiochus)
19. "Hor la Trumba" (from Rinaldo)
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 23. November 2013, 23:30
Jane Chapman / The Lady's Banquet, vol 1: Aires from the Opera Curiously Set
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Jane Chapman - The Lady's Banquet, Vol. 1: Aires From the Opera Curiously Set (1995)
Thanks to the original releaser