Angelo Manzotti - Arie di Farinelli [IMPORT]

Johann Adolf Hasse (Artist), Riccardo Broschi (Artist), Geminiano Giacomelli (Artist), Carlo Broschi (Artist), Angelo Manzotti (Artist), Maria Pia Jacoboni (Artist), I Solisti di Roma (Artist)

Product Details

• Audio CD (December 12, 1995)
• SPARS Code: DDD
• Number of Discs: 1
• Format: Import
• Label: Bongiovanni
• ASIN: B0000044BT
• Average Customer Review: 4.1 out of 5 stars  See all reviews (7 customer reviews)
• Amazon.com Sales Rank: #421,710 in Music (See Bestsellers in Music)

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Track Listings

1. Merope, opera: Quell'usignolo che innamorato canta

2. Merope, opera: Sposa non mi conosci

3. Artaserse, opera: Son qual nave

4. Artaserse, opera: Se al labbro mio

5. Di costanza il core armato, for voice, strings & continuo

6. Che chiedi? Che brami?, for voice, strings & continuo

Customer Reviews

Most Helpful Customer Reviews

14 of 15 people found the following review helpful:

5.0 out of 5 stars Very rewarding and interesting, August 1, 2003

By A Customer

These arias are quite nice, and some are even exciting, but somehow I was left wondering when the "fireworks" were going to happen. These arias were sung by Farinelli, but excepting Quell'usignuolo" none of them were the ones he was supposed to sing all the time, nor ones that he was noted for. One thing about Farinelli is we have a record of how he embellished these pieces. We know the different variations he did depending on how he felt. We also know that his variations were difficult in music that was already fairly challenging. Though "Son qual nave" is sung in this recording, one doesn't hear the embellishments of Farinelli, which are easily found. This is sad, for his embellishments really are possible to sing, Dame Joan or Marilyn Horne could have mastered them with ease, and I suspect Manzotti could have sung them, as they lie completely in the middle voice for the most part. They make the piece more interesting. However, one must put this aside and judge this recording based on what we have to hear. Manzotti actually does a fine job with these arias. No, he doesn't embellish as much as was probably the custom of the day, but his coloratura is well done (that is if you ignore his trills, or lack thereof). He has the range to cover the arias effectively and with limited strain (though I don't really enjoy his sound when he has jumps to the upper register for very short notes). I really wish someone would record "Qual Guerriero in Camp amato." Some really incredible singing is required for this aria. It won't be found in this recording.

Some people have raved over the recording saying it is simply wonderful, others are not impressed at all. I think it is one of taste. I am not a countertenor fan at all. I don't think they sound a thing like a castrato, nor do they do justice to the music of that time for their ranges are too limited to cover everything that was done. The diction is wanting for the most part, and the expression is lacking. The tone is too "white." By this I don't mean lacking vibrato, but simply without the fire of a real person, or personality behind it. It is soul-less.

No matter how exceptionally beautiful as singer sings, if there is no life, no emotion, no truth communicated they have not succeeded completely. They may dazzle with their skills, but they leave us cold. Even the great Farinelli learned this lesson. Early in his career he overly embellished, and astonished listeners, but soon learned he never touched the heart. He rethought his presentation and became the great person he was. Well, we have a singer who does sing beautifully, and with much skill that amazes (and should amaze us). Yet, he leaves us cold at times. There is no feeling, no expression, no communication of a thought, no meaning to his words. Bel Canto is not just beautiful singing, it is communicating through music; embellishments are not just for show, but to express meaning. I didn't feel that, and I guess that is why I was left cold.

I rated the recording a 5 star because of the achievement, which is truly wonderful. It is worthy of that rating, even though I was not completely satisfied with it in other ways. Manzotti is a skilled singer, and one that has much to offer. If he now would learn to communicate feelings with his notes, we truly will be rewarded by the things he has to share. I still put him at the tops of the list of countertenors (even though he doesn't call himself that, he is a sopranist). With the crowd of them out there now days, that is really something to be proud of.

5 of 5 people found the following review helpful:

5.0 out of 5 stars Wonderful Manzotti, February 3, 2003

By A Customer

In this CD Angelo Manzotti shows his really uncommon vocal skills. It's an impressive and unusal singing: you love him or you hate him...... In any case I believe it's the closest we can get nowadays to the lost kind of castrato voice.
The only thing I didn't really like is the accompanying orchestra..... if this recording would have been done with ensembles such as Europa Galante, Giardino Armonico or Akademie fur alte Musik Berlin, it would have been one of the most impressive CDs ever produced! Anyway, this early CD along with his latest ones such Handel's "Evil Arias" and Campra Motets is a must for anyone interested in XVIII century vocal music.

11 of 15 people found the following review helpful:

3.0 out of 5 stars not worthy of the name "Farinelli", January 12, 2000

By A Customer

These are some of the most difficult arias written in the Baroque era, but the singing here fails to do justice to the brilliant music. If you're interested in how glorious Farinelli's singing was, try Cecilia Bartoli's "Vivaldi Album" and the original soundtrack of the movie "Farinelli." Of course, the REAL Farinelli must have been much greater, but those two CD's are the closest things we can get.