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Handel: Fernando
 
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Handel: Fernando

~ Antonio Abete (Bass), George Frederick Handel (Composer), Alan Curtis (Conductor), Max Emanuel Cencic (Counter Tenor), Marianna Pizzolato (Mezzo Soprano), et al.
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Product details

  • Orchestra: Il Complesso Barocco
  • Conductor: Alan Curtis
  • Composer: George Frederick Handel
  • Audio CD (5 Feb 2007)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Label: Virgin Classics
  • ASIN: B000FIHZM8
  • Other Editions: MP3 Download
  • Average Customer Review: 3.0 out of 5 stars See all reviews (3 customer reviews)
  • Amazon.co.uk Sales Rank: 102,350 in Music (See Bestsellers in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.


Disc 1:

Extraits
Song TitleArtist Time Price
Listen  1. Fernando, re di Castiglia, Overture: LargoAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 1:00£0.69
Listen  2. Fernando, re di Castiglia, Overture: AllegroAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 1:53£0.69
Listen  3. Fernando, re di Castiglia, Overture: AllegroAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 1:27£0.69
Listen  4. Fernando, re di Castiglia, Atto primo, Scena I: Rec. AlfonsoAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:33£0.69
Listen  5. Fernando, re di Castiglia, Atto primo, Scena I: AccompagnatoAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 1:01£0.69
Listen  6. Fernando, re di Castiglia, Atto primo, Scena I: Coro militareAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:50£0.69
Listen  7. Fernando, re di Castiglia, Atto primo, Scena II: Rec. Isabella ed ElmireAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:54£0.69
Listen  8. Fernando, re di Castiglia, Atto primo, Scena II: Accompagnato IsabellaAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:38£0.69
Listen  9. Fernando, re di Castiglia, Atto primo, Scena II: Aria: "Rendi 'I sereno al ciglio"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 3:40£0.69
Listen10. Fernando, re di Castiglia, Atto primo, Scena III: Rec. Isabella, ElvidaAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:51£0.69
Listen11. Fernando, re di Castiglia, Atto primo, Scena IV: Rec. & aria: Forte inciampo al suio furore"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 3:03£0.69
Listen12. Fernando, re di Castiglia, Atto primo, Scena V: Rec. Altomaro & SancioAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 1:02£0.69
Listen13. Fernando, re di Castiglia, Atto primo, Scena V: Aria: "Fra l'ombre e gl'orrori"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 4:23£0.69
Listen14. Fernando, re di Castiglia, Atto primo, Scena VI: Rec. Sancio e Fernando con seguitoAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 1:03£0.69
Listen15. Fernando, re di Castiglia, Atto primo, Scena VI: Aria: "Si, si minaccia" SancioAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 3:50£0.69
Listen16. Fernando, re di Castiglia, Atto primo, Scena VII: Rec. Fernando e DionisioAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 1:32£0.69
Listen17. Fernando, re di Castiglia, Atto primo, Scena VII: Aria: "Il mio valore"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 4:02£0.69
Listen18. Fernando, Re Di Castiglia, Atto Primo, Scena VIII: Rec. Dionisio SoloAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:31£0.69
Listen19. Fernando, Re Di Castiglia, Atto Primo, Scena VIII: Aria: "La Turba Adultarice"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 5:19£0.69
Listen20. Fernando, re di Castiglia, Atto primo, Scena IX: Rec. Alfonso con squadra d'uffiziali portoghesi...Rec. Alfonso, Isabella ed Elvida - Replica del Coro militare - rec. AlfonsoAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 1:53£0.69
Listen21. Fernando, re di Castiglia, Atto primo, Scena X: Aria: "Due parti del core"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 4:37£0.69
Listen22. Fernando, re di Castiglia, Atto primo, Scena XI: Rec. Elvida solaAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:23£0.69
Listen23. Fernando, re di Castiglia, Atto primo, Scena XI: Aria: "Dite pace, e fulminate"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 5:38£0.69
Listen24. Fernando, re di Castiglia, Atto secondo, Scena I: Aria: "Padre, germano e sposo"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 2:10£0.69
Listen25. Fernando, re di Castiglia, Atto secondo, Scena II: SinfoniaAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:10£0.69
Listen26. Fernando, re di Castiglia, Atto secondo, Scena III: Rec. Isabella, Elvida? Alfonso e seguitoAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 1:00£0.69
Listen27. Fernando, re di Castiglia, Atto secondo, Scena IV: Duetto: "Se m'ascolti...E udir potrei?"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 2:31£0.69
Listen28. Fernando, re di Castiglia, Atto secondo, Scena V: Rec. Sancio con ufficiali, e dettiAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 1:25£0.69
Listen29. Fernando, re di Castiglia, Atto secondo, Scena V: Aria: "Se discordia ne disciolse"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 2:44£0.69
Listen30. Fernando, re di Castiglia, Atto secondo, Scena VI: Rec. Altomaro & SancioAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:27£0.69
Listen31. Fernando, re di Castiglia, Atto secondo, Scena VI: Aria: "Sò ch'il Ciel ben spesso gode AltomaroAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 5:37£0.69
Listen32. Fernando, re di Castiglia, Atto secondo, Scena VII: Rec. Altomaro soloAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:15£0.69
Listen33. Fernando, re di Castiglia, Atto secondo, Scena VII: Aria "Sento il cor che lieto gode"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 5:22£0.69


Disc 2:

Extraits
Song TitleArtist Time Price
Listen  1. Fernando, Re Di Castiglia, Atto Secondo, Scena VIII: Rec. Fernando & ElvidaAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:36£0.69
Listen  2. Fernando, Re Di Castiglia, Atto Secondo, Scena VIII: Duetto: "Per Le Porte Del Tormento"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 9:05£1.89
Listen  3. Fernando, re di Castiglia, Atto secondo, Scena IX: Rec. Isabelle e dettiAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:29£0.69
Listen  4. Fernando, re di Castiglia, Atto secondo, Scena IX: Aria: "Alle sfere della Gloria"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 6:02£0.69
Listen  5. Fernando, re di Castiglia, Atto secondo, Scena X & XI: Rec. IsabellaAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 2:04£0.69
Listen  6. Fernando, re di Castiglia, Atto secondo, Scena XII: Aria: "Vado al campo"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 2:58£0.69
Listen  7. Fernando, Re Di Castiglia, Atto Secondo, Scena XIII: Rec. Fernando/ElvidaAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:43£0.69
Listen  8. Fernando, Re Di Castiglia, Atto Secondo, Scena XIII: Aria: "In Mille Dolci Modi"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 5:07£0.69
Listen  9. Fernando, re di Castiglia, Atto secondo, Scena XIV: Rec. Elvida solaAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:37£0.69
Listen10. Fernando, re di Castiglia, Atto secondo, Scena XIV: Aria: "Vola l'augello dal caro nido"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 4:31£0.69
Listen11. Fernando, re di Castiglia, Atto terzo, Scena I: SinfoniaAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:50£0.69
Listen12. Fernando, re di Castiglia, Atto terzo, Scena II: Rec. Isabella e dettiAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 1:17£0.69
Listen13. Fernando, re di Castiglia, Atto terzo, Scena II: Aria: "S'io cadrò per tuo consiglio"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 3:12£0.69
Listen14. Fernando, re di Castiglia, Atto terzo, Scena III: Rec. Isabella, Sancio e guardieAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:49£0.69
Listen15. Fernando, re di Castiglia, Atto terzo, Scena III: Aria: "Cuor di madre, e cuor di moglie"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 7:50£1.89
Listen16. Fernando, re di Castiglia, Atto terzo, Scena IV: Rec. Sancio soloAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:41£0.69
Listen17. Fernando, re di Castiglia, Atto terzo, Scena IV: Aria: "Sincero affetto"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 5:18£0.69
Listen18. Fernando, re di Castiglia, Atto terzo, Scena V & VII: Rec. AlfonsoAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:56£0.69
Listen19. Fernando, re di Castiglia, Atto terzo, Scena VII: Aria: "M'oppprrò da generoso"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 4:21£0.69
Listen20. Fernando, Re Di Castiglia, Atto Terzo, Scena VIII: Rec. Elvida SolaAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:29£0.69
Listen21. Fernando, Re Di Castiglia, Atto Terzo, Scena VIII: Aria: "Vorrei, Né Pur Saprei"Alan Curtis/Il Complesso Barocco/Veronica Cangemi 3:26£0.69
Listen22. Fernando, re di Castiglia, Atto terzo, Scena IX: Rec. Dionisio/Altomaro/SancioAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:32£0.69
Listen23. Fernando, re di Castiglia, Atto terzo, Scena IX: Aria: "Tiene Giove in mano il folgore"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 2:43£0.69
Listen24. Fernando, re di Castiglia, Atto terzo, Scena X, XI & XII: Rec. Dionisio e SancioAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 3:16£0.69
Listen25. Fernando, re di Castiglia, Atto terzo, Scena ultima: Duetto: "Tu caro, caro sei/Sì, sì cara"Alan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 5:43£0.69
Listen26. Fernando, re di Castiglia, Atto terzo, Scena ultima: Rec. Elvida/ FernandoAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee0:17£0.69
Listen27. Fernando, re di Castiglia, Atto terzo, Scena ultima: CoroAlan Curtis/Il Complesso Barocco/Lawrence Zazzo/Veronica Cangemi/Marianne Pizzolato/Max Emanuel Cencic/Filippo Adami/Antonio Abete/Neal Banerjee 3:25£0.69


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Customer Reviews

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17 of 18 people found the following review helpful:
4.0 out of 5 stars A Diamond from Curtis & Co., 27 Feb 2007
By Morten Fuglestad (Norway) - See all my reviews
(REAL NAME)   
It is not a surprise that Sosarme, Re di Media (which was the name this opera had it's premiere under in 1732) was a huge success. The plot of hostillity between a father and a son is timeless, but in 1732 the relations between King George II and Frideric, Prince of Wales, were ice cold, and was at the centre of gossip and politics in England. The public took interest in the subject and perhaps this issue also was a main inspiration for Handel in composing this opera and choosing this libretto, which probably had been gathering dust on Handel's shelves for about 25 years at this point.

It was probably the touchy relations with Portugal (an important allied to Britain) that made Handel switch the tittle from Fernando, Re di Castiglia to Sosarme, Re di Media, when he set about to compose Act III, and thus change the names of the characters. By this easy change of names Handel showed that the opera was not a commentary on political issues in Portugal, but rather on the theme of reconcilliation of a father and a son.

Charles Burney (a leading historian of music in second half of the 18th century) thought highly of this opera and deemed it one of Handel's best. The first aria (Handel' only aria in B-major) in the opera (I;1), beautifly sung by Veronica Cangemi (Elvida), is very moving and should be "canonised" into the main repetoire of sopranos. Also the duet "Per le porte del tormento" (II;8) is stunning, and Burney mentions this particullary as a true masterpiece. Here Elvida sings together with Fernando (Lawrence Zazzo), and this duet is perhaps worth the two CDs alone.

The tenor Filippo Adami (Dionisio, king of Portugal) has one of the most demanding parts in this opera. Adami is a good actor and infuses the role with a tremendous sense of energy. Antonio Abete's bass (Altomaro) is also full of life, which is remarkable, as Curtis' casting of the bass Vito Priante in Vivaldi's Montezuma was a real letdown. Abete has nouances in his voice that is ideal to his interpretation of the villain's part. Altomaro isn't Handel's most interesting psycological portrayal of a villain, but he certainly composed some impressive music to his famed bass Mantagnena for this opera, and Abete is perfect for this.

Fernando is sung by counter-tenor Lawrence Zazzo. His interpretations are not so tastefull as i.e. a Phillipe Jarousky (which I belive would be ideal in this part) surely would have sung it. However Zazzo has a real sense of drama and heroism in the war-like arias and is moving in the more sensual arias. The other counter-tenor part, Sancio (Fernando's half-brother), is sung by Max Emanuel Cencic. His part in the plot is quite important, and could, with a little rewriting of the libretto, have been the protagonist. Cencic's interpretation of Sancio's first aria "Si, si minacia" (I;6), where his over-genorous use of vibrato in order to portray vengance threatening to destroy the kingdom, seems to go dangeroulsy near the pathetic. In other arias he showes a more interesting use of his voice, and on the whole he is a good singer.

Curtis' conducting is dramatic and brings shades and light to the music without sacrificing poetry to drama. He is alert to the different rethorical modi which the arias calls upon and pushes the story forward with his deep sense of the drama's logical unity.

As Curtis' interpretation of Deidamia (Handel's last opera) showed, he is not at all suited to the humoristic modes in Handel. There are however no comic elements in Fernando, and this fullfledged seria opera is more in his vein.

The recording (2005) from Tonhalle, St. Gallen, is quite dry and renders the bass a little wooly. You will certainly not find the close microphone sound of many of todays baroque-orchestras, but if you like the sound (and approach to Handel) of his compatriot Nicholas McGegan, this recording will certainly prove a very succesfull one.

It is also very nice to have Veronica Cangemi in such a splendid role where this rising star is given sufficient room to shine.

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4 of 4 people found the following review helpful:
4.0 out of 5 stars 'Sosarme' by another name, 2 Dec 2008
By Iain C. Davidson "iain1825" (Scotland) - See all my reviews
(REAL NAME)   
'Fernando' is basically Handel's opera 'Sosarme' in a brief earlier incarnation. There seems to have been little point in Alan Curtis recording the opera under this name other than to market it under the banner of 'world premiere'. The music and plot are almost exactly the same with only the character names changing. Having said that, this is still a very good recording of the piece.

I have not heard the ancient Alfred Deller recording and can make no comparisons to that. I have however heard the Somary recording on Newport Classics and Curtis' reading of the piece is almost entirely superior to that. Curtis' cast is preferable to Somary's in most respects - two exceptions being the roles of Isabella/Erinice (sung very beautifully for Somary by Jennifer Lane) and Dionisio/Haliate (John Aler in much better voice for Somary that Fillipo Adamo's rough, nasal whine for Curtis. Lawrence Zazzo in the title role of Fernando is in excellent voice and brings considerable drama to the role. Veronica Cangemi is pretty good as Elvida (although to hear the ravishing 'Per la porte' duet sung really well you have to go to the duets disc with Joyce DiDonato and Patrizia Ciofi) and Max Cencic brings a warm, graceful tone to the part of Sancio. I find the basses in the two recordings quite equally matched; Abete has the fresher more agile voice but there is also something appealing about Nathaniel Watson's more sonorous tones for Somary.

I don't find Curtis' conducting boring - I think it springs along quite nicely although without that extra something that a conductor like Rene Jacobs sometimes brings to a piece (in fairness sometimes he brings too much!). I liked this recording overall and would recommend it.
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9 of 17 people found the following review helpful:
1.0 out of 5 stars A missed opportunity, 22 Feb 2007
By Webster Forrest (London United Kingdom) - See all my reviews
(REAL NAME)   
Despite the presence of first rate singers Cangemi, Zazzo and Cencic in this recording, this is one of the most boring recordings of an opera I've heard to date. This must be ascribed to the unimaginative direction by Curtis, a cast otherwise containing competent to mediocre singers and an uninspired ensemble which sounds small and ineffective in the more dramatic moments. The score is not remarkable when compared with "Alcina" or "Tamerlano", however it does contain many items of interest: 'Dite pace', 'Fra l'ombre', 'Cuor di madre' to name but a few. This recording is only worth the purchase as it attempts to recreate Handel's original intention of setting the drama in renaissance Portugal instead of the mythical antiquity of Sosarme, Re di Media. The much older recording with Alfred Deller as Sosarme should remain preferable overall, as it is more energetic and engaging than this present dull recording. What this project needed in my opinion was a Minkowkis or a Jacobs at the helm.
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