℗ 2021 Parlophone Records Limited; A Warner Classics/Erato release,
 

Contralto

Nathalie Stutzmann, Orfeo 55

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Tamerlano, HWV 18, Act I  
1.1
"Dal crudel che m'ha tradita" (Irene)
George Frideric Handel; Nathalie Stutzmann; Orfeo 55
3:14
Meride e Selinunte, Act II  
1.2
"Torbido intorno al core" (Ericlea)
Nicola Porpora; Nathalie Stutzmann; Orfeo 55
7:49
Ariodante, HWV 33  
1.3
Overture to Act II
George Frideric Handel; Nathalie Stutzmann; Orfeo 55
1:45
Rinaldo, HWV 7b, Act II  
1.4
"Mio cor, che mi sai dir?" (Goffredo)
George Frideric Handel; Nathalie Stutzmann; Orfeo 55
2:55
Tito Manlio, RV 738, Act I  
1.5
"Di verde ulivo" (Vitellia)
Antonio Vivaldi; Nathalie Stutzmann; Orfeo 55
6:07
Farnace, RV 711, Act II  
1.6
"Gelido in ogni vena" (Farnace)
Antonio Vivaldi; Nathalie Stutzmann; Orfeo 55
9:30
Berenice, HWV 38  
1.7
Sinfonia to Act III
George Frideric Handel; Nathalie Stutzmann; Orfeo 55
2:48
Semiramide riconosciuta, Act II  
1.8
"Tradita, sprezzata" (Semiramide)
Nicola Porpora; Nathalie Stutzmann; Orfeo 55
3:31
Griselda, Act II  
1.9
"Caro addio, dal labbro amato" (Griselda)
Giovanni Bononcini; Nathalie Stutzmann; Orfeo 55
5:53
Alessandro Severo  
1.10
Sinfonia to Act III
Antonio Lotti; Nathalie Stutzmann; Orfeo 55
1:05
Arminio, HWV 36, Act I  
1.11
"Sento il cor per ogni lato" (Ramise)
George Frideric Handel; Nathalie Stutzmann; Orfeo 55
2:50
Euristeo, Act III  
1.12
"Sotto un faggio o lungo un rio" (Erginda)
Antonio Caldara; Nathalie Stutzmann; Orfeo 55
8:52
Bajazet, RV 703, Act III  
1.13
"È morto, sì, tiranno... " (Asteria)
Antonio Vivaldi; Nathalie Stutzmann; Orfeo 55
1:35
1.14
"Svena, uccidi, abbatti, atterra" (Asteria)
Antonio Vivaldi; Nathalie Stutzmann; Orfeo 55
2:08
Statira, Act I  
1.15
"Mira d'entrambi il ciglio" (Statira)
Nicola Porpora; Nathalie Stutzmann; Orfeo 55
4:52
Amadigi di Gaula, HWV 11  
1.16
Overture - II. Gavotta
George Frideric Handel; Nathalie Stutzmann; Orfeo 55
1:20
La fede tradita e vendicata, Act II  
1.17
"Empia mano" (Ernelinda)
Francesco Gasparini; Nathalie Stutzmann; Orfeo 55
5:55
Sosarme, re di Media, HWV 30, Act II  
1.18
"Vado, vado al campo" (Erenice)
George Frideric Handel; Nathalie Stutzmann; Orfeo 55
2:28
L'incoronazione di Dario, RV 719, Sinfonia  
1.19
I. Allegro
Antonio Vivaldi; Nathalie Stutzmann; Orfeo 55
2:27
1.20
II. Andante e pianissimo
Antonio Vivaldi; Nathalie Stutzmann; Orfeo 55
1:47
1.21
III. Presto
Antonio Vivaldi; Nathalie Stutzmann; Orfeo 55
0:34
Ginevra principessa di Scozia, RV 716, Act II  
1.22
"Degli Elisi dal soggiorno" (Lurcanio)
Antonio Vivaldi; Nathalie Stutzmann; Orfeo 55
4:03
Alessandro Severo  
1.23
Sinfonia - I. Allegro
Antonio Lotti; Nathalie Stutzmann; Orfeo 55
1:33
1.24
Sinfonia - II. —
Antonio Lotti; Nathalie Stutzmann; Orfeo 55
1:38
1.25
Sinfonia - III. Presto
Antonio Lotti; Nathalie Stutzmann; Orfeo 55
1:09
Berenice, HWV 38  
1.26
Overture - III. Andante larghetto
George Frideric Handel; Nathalie Stutzmann; Orfeo 55
1:40
Rinaldo, HWV 7b, Act III  
1.27
"Sorge nel petto" (Goffredo)
George Frideric Handel; Nathalie Stutzmann; Orfeo 55
4:29
Digital Booklet
Total Playing Time    1:33:57
Contralto Nathalie Stutzmann shines a light on the deep-voiced female singers of the Baroque era, often overshadowed by the extravagant talents and reputations of castrato singers like Farinelli and Caffarelli. Her programme of Handel, Vivaldi, Porpora, Bononcini, Caldara and Gasparini displays the variety of operatic roles – both female and male – assumed by contraltos like Vittoria Tesi and Anna Marchesini. “We must remember that the opera composers of the early 18th century saw the female contralto and the male castrato as vocally interchangeable,” says Stutzmann, “and that the voice most closely resembling a castrato is not the countertenor – produced using a falsetto technique – but the contralto, which is a natural voice.” Stutzmann both sings and conducts Orfeo 55, the instrumental ensemble she founded a decade ago.
96 kHz / 24-bit PCM – Warner Classics Studio Masters

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