Tenor: Ian Bostridge
The English Concert
Bernard Labadie
Wholenote Discoveries - March 2011
Castrati were some of early opera’s superstars; they eventually found their supremacy challenged by the rise of the tenor, often showcased by composers such as Handel. This CD features Ian Bostridge interpreting music for three star tenors of Handel’s day – John Beard, Francesco Borosini and Annabile Po Fabri. The pieces selected reflect this showcasing, not least with Handel’s Where congeal’d the northern streams and Vivaldi’s La tiranna e avversa sorte, the latter’s musical score combining with its lyrics to drive home the determination of Tamese to rule. Ian Bostridge chooses two consecutive pieces to show how Gasparini and Handel each depict the torment of the defeated Bajazet. Gasparini exploits the tenor register to full effect; Handel is more contemplative – contrast Bajazet’s resignation with the immediately following piece, Arne’s militaristic Rise, Glory, rise, where even loud drums can not extinguish Ian Bostridge’s inspired interpretation. Even Handel’s frenetic D’un barbaro scortese receives Bostridge’s attention, demonstrating just how much energy could be generated by a leading baroque tenor. It should not, however, be thought that this collection is only about classical dignitaries laying down commands for mere subjects. William Boyce’s Solomon depicts plaintive scenes of love drawn from the Song of Solomon. In short, every known emotion features in the baroque tenor’s repertoire. And in Ian Bostridge’s. Michael Schwartz
This recording features works by the masters of the age, including six world premier recordings of arias by Caldara, Conti, Gasparini, Handel, Scarlatti and Vivaldi. The previously unrecorded Handel aria is ”Scorta siate a passi miei”, from the “Borosini” edition of his famous opera Giulio Cesare. In this version, Borosini sang the role of Sesto, which was traditionally performed by a castrato with different arias. Much of the repertoire selected by Bostridge has rarely been performed in modern times.
Three Baroque Tenors is a recording that is as fascinating as it is magnificent. It is an overdue homage to this neglected musical evolution and the men who inspired it. It illustrates both Bostridge’s gift for interpreting repertoire from this period, as previously heard on his Great Handel recording, and his skills as a historian. Bostridge, who received his D.Phil in History from Corpus Christi College, Oxford, is well respected in historical and journalism circles. His new collection of essays, On Music, will be published by Faber & Faber in spring 2011.
Annibale Fabri (b. Bologna, 1697; d. Lisbon, 12th August, 1760) was one of the leading singers of his time and did much to increase the status of the tenor voice, so much so that a contemporary remarked “the merit of this tenor was often sufficient in Italy to supply the want of it in the principal soprano,” a great compliment given the popularity of castrati at the time. During the 1720s and 1730s he was in constant demand all over Italy. Handel engaged him for two seasons in London between 1729 and 1731; the parts of Emilio in Partenope and Alexander in Poro (the latter performed on this recording) were written for him. He also sang in several of Handel’s other Italian operas. The parts Handel composed for him are incredibly virtuosic with a range of nearly two octaves, requiring great agility and technique. As well as Handel’s operas, Fabri had considerable success performing roles by other popular composers of the time, including Hasse, Porpora, Caldara, Scarlatti and Gasparini, work from the latter two composers is explored here. In 1732 Fabri received the title of virtuoso to the Emperor Charles VI. He was also a successful composer in his own right, composing oratorios and operas for Madrid and Lisbon. Francesco Borosini (b Modena, c1690; d after 1747) came from a family of well known singers. He was engaged at the Imperial court in Vienna from 1712 until 1731, during which time in sang in several oratorios by Caldara and several operas by Fux and Conti, including the Conti aria on this release. Borosini was the first great Italian tenor to sing in London, making his London debut as Bajazet in Handel’s Tamerlano, also explored here. He collaborated with Handel on the role, and the part was rewritten for him before the first performance. Handel also rewrote the role of Sesto in Giulio Cesare for Borosini with new music, as this role was originally written for soprano. Handel’s writing for Borosini was of exceptional quality and prominence; the role of Bajazet particularly has an extreme range of two octaves (A to a’) and requires great dramatic power. Gasparini’s parts for him extend down to G, suggesting he had an impressive vocal compass. John Beard (b c1717; d Hampton, 5th February 1791) was Handel’s main star singer when the fashion turned from staged opera to un-staged oratorio in mid-18th-century London. Handel’s oratorios are extremely dramatic works which were performed in theatres in the composer’s time. The Messiah, Samson and other key works were premiered by John Beard and he was the most frequently featured singer in Handel’s output throughout the composer’s career. As well as Handel, he inspired many glorious and sophisticated works by composers Thomas Arne, JC Smith and William Boyce who were all close friends of the celebrated tenor. It is these works, and the rarely performed or recorded 1745 "musical drama” Hercules by Handel, which are explored here, in a fitting follow up to Ian’s Great Handel recording