The Three Baroque Tenors [CD]

This is a challenging project for Bostridge to have taken on, with its range of vocal registers, styles, and dramatic personae. Annivale Pio Fabri was renowed for his powerful voice, technical virtuosity and mastery of the bel canto (high, florid) and cantabile (exposed, sustained lines over throbbing accompaniment) styles. He inspired Vivaldi to write deeply lyrical vocal lines, and Handel to write one of the most demanding tenor arias of the time. Meanwhile, Francesco Borosini was a brilliant actor with a huge vocal range stretching from baritone to tenor. Both Handel and Gasparini created the role of Bajazet for him. In fact Gasparini's version broke with all conventions to create the first-ever heroic onstage death scene for a tenor. Different again was John Beard, who was talent-spotted by Handel when a chorister. He was most loved for his renditions of ballads, and for his patriotic and rousing themes.

Evidently, Bostridge can't be three different men with three different voices. However, his smooth, supple voice is well able to deal with the multiple styles, the virtuosity, and even the baritone-register passages that one might have anticipated his light tone struggling to do justice to. His superb diction means that you don't miss a word, his ornamentation is elegant and precise, and texts are intelligently interpreted. The English Concert, a natural choice for this repertoire, don't disappoint with their crisp, vibrant performance.

--Charlotte Gardner

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This recording features works by the masters of the age, including six world premier recordings of arias by Caldara, Conti, Gasparini, Handel, Scarlatti and Vivaldi. The previously unrecorded Handel aria is "Scorta siate a passi miei", from the "Borosini" edition of his famous opera Giulio Cesare. In this version, Borosini sang the role of Sesto, which was traditionally performed by a castrato with different arias. Much of the repertoire selected by Bostridge has rarely been performed in modern times.

Three Baroque Tenors is an overdue homage to this neglected musical evolution and the men who inspired it. It illustrates both Bostridge's gift for interpreting repertoire from this period, as previously heard on his Great Handel recording, and his skills as a historian.

Annibale Fabri (b. Bologna, 1697; d. Lisbon, 12th August, 1760) was one of the leading singers of his time and did much to increase the status of the tenor voice. Handel engaged him for two seasons in London between 1729 and 1731; the parts of Emilio in Partenope and Alexander in Poro (the latter performed on this recording) were written for him. He also sang in several of Handel's other Italian operas. The parts Handel composed for him are incredibly virtuosic with a range of nearly two octaves, requiring great agility and technique. As well as Handel's operas, Fabri had considerable success performing roles by other popular composers of the time, including Hasse, Porpora, Caldara, Scarlatti and Gasparini, work from the latter two composers is explored here.

Francesco Borosini (b Modena, c1690; d after 1747) came from a family of well known singers. He was engaged at the Imperial court in Vienna from 1712 until 1731, during which time in sang in several oratorios by Caldara and several operas by Fux and Conti, including the Conti aria on this release. Borosini was the first great Italian tenor to sing in London, making his London debut as Bajazet in Handel's Tamerlano, also explored here. He collaborated with Handel on the role, and the part was rewritten for him before the first performance. Handel also rewrote the role of Sesto in Giulio Cesare for Borosini with new music, as this role was originally written for soprano.

John Beard (b c1717; d Hampton, 5th February 1791) was Handel's main star singer when the fashion turned from staged opera to un-staged oratorio in mid-18th-century London. The Messiah, Samson and other key works were premiered by John Beard and he was the most frequently featured singer in Handel's output throughout the composer's career. As well as Handel, he inspired works by composers Thomas Arne, JC Smith and William Boyce who were all close friends of the celebrated tenor. It is these works, and the rarely performed or recorded 1745 "musical drama" Hercules by Handel, which are explored here.