|George Handel||Sento Prima Le Procelle (From Pirro E Demetrio),
La Crudele Lontananza (From Rinaldo),
No Non Così Severe (From Pirro E Demetrio),
Vieni O Cara E Lieta In Petto (From Pirro E Demetrio),
Vinto È L’Amor Da Sdegno E Gelosia (From Ottone),
Vieni O Caro Che Senza Il Tuo Core (From Rinaldo),
Io D’Altro Regno (From Muzio Scevola),
Dimmi Crudele Amore (From Muzio Scevola),
Lusinga Questo Cor (From Amadigi),
Sa Perché Pena Il Cor (From Teseo),
Non Lagrimate O Mie Seguace (From Admeto),
Farò Così Più Bella (From Admeto),
Le Vicende Della Sorte (From Berenice),
Solitudine Amate (From Alessandro).
Ann Hallenberg (Mezzo).
Il Complesso Barocco, Alan Curtis.
Following the “Vivaldi New Discoveries II” album and a praised recording devoted to Marietta Marcolini (Rossini etc.), Hidden Handel is the new project of Swedish mezzo-soprano Ann Hallenberg.
The Handel arias and orchestral pieces on this disc span a narrow spectrum from the comparatively unfamiliar to the practically unknown. Nine of the twelve arias are recorded here for the first time, as is the D major March, HWV 416. The arias are mostly arie aggiunte, composed for insertion in later performances of existing operas to accommodate a different cast of singers. Some of these arias have come to light only recently or have previously been inadequately identified. The interspersed instrumental works were produced for purposes still uncertain. Yet despite the sometimes shadowy origins of this music it is all vintage Handel, and arias such as ‘La crudele lontananza’, ‘Sa perché pena il cor’ and ‘Farò così più bella’ rank among the composer’s most eloquent dramatic utterances.