ANGELIKA KIRCHSCHLAGER
Handel Arias
Qui d'amor from Ariodante
T'amerò dunque...Con l'ali from Ariodante
Scherzo infida from Ariodante
Dopo notte from Ariodante
Svegliatevi nel core from Giulio Cesare
Cara speme from Giulio Cesare
L'angue offeso from Giulio Cesare
Sdegnata sei from Arianna
Oh patria!...Sol ristoro from Arianna
Salda quercia from Arianna
Qual Leon from Arianna
Ove son...Qui ti sfido from Arianna
Since her US debut in 1997, Angelika Kirchschlager has become one of today’s most sought after young mezzo-sopranos, acclaimed for the lyrical quality of her voice, her emotional sensitivity and her keen musical intelligence. In a career that spans three continents, she divides her time equally among recitals, concerts and opera.
The CD features performances on period instruments by the Kammerorchester Basel.
The Austrian mezzo is a relative newcomer to Handel — her debut was as Sesto in Giulio Cesare at Glyndebourne last year — but on the evidence of this disc, this is a repertoire strand she ought to explore further. Arias for two of Handel’s most favoured singers — the low soprano Margherita Durastanti and the high mezzo-soprano castrato Giovanni Carestini — comprise this well-conceived programme, which sandwiches three of Sesto’s arias between arias for both Carestini and Durastanti, from Ariodante and Arianna in Creta. The latter is one of Handel’s most rarely staged operas, and I don’t think any of Teseo’s solos have found their way onto a recital disc before this: they are the finest in an uneven work. Kirchschlager, with her bright, soprano-ish mezzo, reminiscent of the young Ann Murray, has the near-ideal voice for Ariodante’s great outpouring of grief, Scherza infida, taken slightly too slowly, and his bravura syncopated number Dopo notte.
The corresponding arias from Arianna, including the wonderful Salda quercia and Teseo’s defiant confrontation of the Minotaur, Qui ti sfido, are marvellously sung. Kirchschlager’s upcoming debut as Ariodante is eagerly awaited.
Four stars, Times
Sony 82876889522