Arias for Farinelli

1	Orfeo, opera: Dall'amor p
2	Idaspe, opera: Ombra fede
3	Idaspe, opera: Qual guerr
4	Adriano in Siria, opera:
5	Concerto a 4, for voice &
6	Concerto a 4, for voice &
7	Concerto a 4, for voice &
8	Polifemo, opera: Oh voles
9	Polifemo, opera: Or la nu
10	Artaserse, opera: Per que
11	Merope, opera: Quell'usig
Arias for Farinelli
1.	Orfeo, opera: Dall'amor piů sventurato 4:18
	Composed by Nicola Porpora
	Performed by Akademie für Alte Musik Berlin, René Jacobs and Vivica Genaux
	Conducted by René Jacobs
2.	Idaspe, opera: Ombra fedele anch'io 10:06
	Composed by Riccardo Broschi
	Performed by Akademie für Alte Musik Berlin, René Jacobs and Vivica Genaux
	Conducted by René Jacobs
3.	Idaspe, opera: Qual guerriero in campo armato 8:08
	Composed by Riccardo Broschi
	Performed by Akademie für Alte Musik Berlin, René Jacobs and Vivica Genaux
	Conducted by René Jacobs
4.	Adriano in Siria, opera: Mancare, Dio, mi sento 11:19
	Composed by Geminiano Giacomelli
	Performed by Akademie für Alte Musik Berlin, René Jacobs and Vivica Genaux
	Conducted by René Jacobs
5.	Concerto a 4, for voice & chamber ensemble in C minor 10:02
	Composed by Baldassare Galuppi
	Performed by Akademie für Alte Musik Berlin and René Jacobs
	Conducted by René Jacobs
6.	Polifemo, opera: Oh volesser gli Dei... Dolci freschi aurette (adde 8:28
	Composed by Nicola Porpora
	Performed by Akademie für Alte Musik Berlin, René Jacobs and Vivica Genaux
	Conducted by René Jacobs
7.	Polifemo, opera: Or la nube procellosa 4:50
	Composed by Nicola Porpora
	Performed by Akademie für Alte Musik Berlin, René Jacobs and Vivica Genaux
	Conducted by René Jacobs
8.	Artaserse, opera: Per questo dolce ampleso 6:09
	Composed by Johann Adolf Hasse
	Performed by Akademie für Alte Musik Berlin, René Jacobs and Vivica Genaux
	Conducted by René Jacobs
9.	Merope, opera: Quell'usignolo 14:07
	Composed by Geminiano Giacomelli
	Performed by Akademie für Alte Musik Berlin, René Jacobs and Vivica Genaux
	Conducted by René Jacobs

Barnes & Noble

Thanks to Gérard Corbiau's 1994 film, Farinelli is not a completely unfamiliar name to music lovers. We can only imagine what the great 18th-century castrato's voice must have sounded like, but according to all accounts it was truly extraordinary, inspiring composers and operagoers alike. This recital by the American mezzo-soprano Vivica Genaux gathers together arias composed for Farinelli by Porpora (1686-1768), Hasse (1699-1783), Broschi (c. 1698-1756), and Giacomelli (c.1692-1740) -- not exactly household names, but they were fine craftsmen all, and their best music has the ability to touch one's soul. Porpora's "Dolci freschei aurette" (from his opera Polifemo), for example, is the kind of sweetly melancholy melody that once heard, cannot be forgotten for hours or even days. Genaux's performances are stunning, virtuosic, and stylish, and the mezzo wisely resists the temptation to affect a masculine sound. The music written for Farinelli has been taken up by many countertenors, yet it sounds marvelous sung by such a firm, rich-toned female voice. Genaux receives splendid support from countertenor-turned-conductor René Jacobs and a crackerjack period instrument ensemble from Berlin. Jacobs and his musicians restore these dusty old arias to their original brilliance, revealing a wealth of orchestral color one might not expect from composers of this generation. Harmonia Mundi provides superb sound quality, and the packaging is a thing of beauty. Absolutely not to be missed. Andrew Farach-Colton

All Music Guide

Recording an album of arias written expressly for Farinelli, one of the most legendary castratos of the eighteenth century, is brave; his name invokes a world of superhuman vocal feats, remarkable pathos, and a uniquely strong and brilliant tone that, for obvious reasons, cannot be replicated by modern singers. But that clearly does not scare Vivica Genaux who, along with René Jacobs and the Akademie für Alte Musik Berlin, dives into Farinelli's repertory as if it were her very own. She reveals a voice capable of dizzying speed and agility, and a refreshing ability to find in the highly ornamented, expression-through-excess style that typified opera seria of the time a sincerity and musical integrity that makes a case for its wider exploration. Jacobs and the Akademie are equally impressive, playing with a rhythmic vitality and crisp ensemble that elevates their role to an equal plane with that of the voice. Inclusion of Baldassare Galuppi's "Concerto ŕ quattro in D minor" -- a rare orchestral selection on a vocal recital album -- is especially interesting; although it lacks the visceral appeal of the sung selections, it showcases the ensemble to great effect. Genaux is terrific in all respects, but she really shines when the fireworks start. There are jaw-dropping passages in these arias that are impossibly intricate, often combining furious coloratura and ornament upon ornament with wide leaps and extremes of range, both high and low. Hearing her negotiate these difficulties with such clarity and confidence is awe-inspiring and fun. Especially noteworthy are "Qual guerriero in campo armato" from "Idaspe," by Riccardo Broschi (Farinelli's brother) and Geminiano Giacomelli's "Quell'usignolo," from the opera "Merope." Both are showpieces that very few people could sing at all, let alone so winningly. Allen Schrott

Gramophone

This project is certainly original and accomplished. Genaux more than fits the bill -- she is often outstanding. Jonathan Freeman-Attwood

International Record Review

The American mezzo-soprano Vivica Genaux fits the bill perfectly.... This makes for deeply satisfying listening, especially as the basic quality of these largely unknown arias is so impressive.... Breathtaking. Simon Heighes