from Handel's Operas. Female Roles for High Voice
Italian opera was at the centre of Handel’s output for over 35 years with solo arias constituting one of the most important elements in Baroque opera. Dramatic roles, with their various moods and reactions, are characterised through arias. A large number of Handel’s operas also contain at least one entire scene for two to three voices. These numbers make use not only of similar lyrical or expressive forms of expression such as the arias, but also employ contrapuntal elements as found in Handel’s chamber music.
Based on the Bärenreiter vocal scores, three volumes will be published which contain some of Handel’s best-known arias, duets and trios, together with less well-known numbers of equally high musical quality. The arias are arranged chronologically, reflecting the order in which the operas were composed.
Contents:
1. Preface
2. Vorwort
3. Aria Texts / Arientexte
4. Furie terribili (Armida, "Rinaldo")
5. Lascia ch'io pianga (Almirena, "Rinaldo")
6. Bel piacere (Almirena, "Rinaldo")
7. V'adoro, pupille (Cleopatra, "Giulio Cesare in Egitto")
8. Che sento? - Se pietà di me non senti (Cleopatra, "Giulio Cesare in Egitto")
9. Da tempeste il legno infranto (Cleopatra, "Giulio Cesare in Egitto")
10. Cor di padre (Asteria, "Tamerlano")
11. Se perì l'amato bene (Costanza, "Riccardo primo, Re d'Inghilterra")
12. Vado per obbedirti (Pulcheria, "Riccardo primo, Re d'Inghilterra")
13. Il volo così fido (Costanza, "Riccardo primo, Re d'Inghilterra)
14. E dove mai - Fonti amiche (Seleuce, "Tolomeo, Re d'Egitto")
15. Orrida agli occhi miei (Ginevra, "Ariodante")
16. Volate, amori (Ginevra, "Ariodante")
17. Ingrato Polinesso! - Neghittosi, or voi che fate? (Dalinda, "Ariodante")
18. Tornami a vagheggiar (Morgana, "Alcina")
19. Ah, mio cor! (Alcina, "Alcina")
20. Ah! Ruggiero crudel - Ombre pallide (Alcina, "Alcina")
21. Mi restano le lagrime (Alcina, "Alcina")
22. L'amerò? Non fia vero. - E gelosia quella tiranna (Romilda, "Serse")
23. Indgrata mai non fui (Rosmene, "Imeneo")
