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The Crown: Herioc Arias for Senesino
Various composers

Randall Scotting

The Crown: Herioc Arias for Senesino

Price: € 19.95
Format: CD
Label: Signum Classics
UPC: 0635212071922
Catnr: SIGCD 719
Release date: 02 September 2022
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€ 19.95
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Label
Signum Classics
UPC
0635212071922
Catalogue number
SIGCD 719
Release date
02 September 2022
Album
Artist(s)
Composer(s)
EN

About the album

The legacy of the celebrity castrato Senesino has endured for centuries. He is known to us today primarily as Handel’s leading man for 13 seasons in London, and he was recognised the world over for his moving dramatic interpretations, fiery singing, and singular, over-the-top divo personality. Yet, Handel’s music for Senesino only shows us a fraction of the numerous virtuosic roles written for the castrato. Here, for the first time, are arias by seven overlooked composers who also wrote showpieces for the (in)famous Senesino. All but one of the arias on this album are modern-day premieres and heard together, they illuminate the talents of an 18th-century operatic icon. Each of the composers on this album was a genuine musical talent, greatly admired for the refinement and skill of their compositions, but they are almost entirely forgotten today. What a fascinating bunch! One was a part-time spy for the future King of France, another a workaholic recluse, one was accused of plagiarism and banished from London entirely, and another worked a side-gig composing music for Italian comedians. I can think of no better group of colleagues than Laurence Cummings and the Orchestra of the Age of Enlightenment with which to perform this music after it has spent nearly 300 years in the shadows. I am filled with gratitude for their deeply moving and committed contribution to this project which is the culmination of seven years of research and work. Why ‘The Crown’, you may wonder? Nearly every aria on this album was composed for a regal character: impassioned kings, noble heroes on the battlefield, royal lovers, and renowned conquerors. These were the roles that Senesino loved to portray on stage, perceiving a reflection of himself in their valiant power. The impression that remains after hearing this array of remarkable music is that Senesino was a truly robust and versatile singer whose abilities and range far exceeded what we have known... until now.

Artist(s)

Randall Scotting (countertenor)

Countertenor, Randall Scotting has become a sought–after artist by some of the world’s most esteemed opera houses. In 2019 he made a spectacular debut at the Royal Opera House as Apollo in Britten’s Death in Venice, singing to sold–out audiences at Covent Garden, and immediately after he joined the roster of the Metropolitan Opera. A dramatically persuasive and intensely musical interpreter, he is recognized for winning over audiences with his stunning vocal beauty, stylish singing, and charismatic stage presence. As the lead role of the Refugee in Jonathan Dove’s Flight at Seattle Opera in 2021, a performance for which he was highly praised in the press, Musical America noted Randall to be ‘marvelous’ with a ‘plangent, rich–toned instrument’. He made his Bayerische Staatsoper debut in 2022 as the...
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Countertenor, Randall Scotting has become a sought–after artist by some of the world’s most esteemed opera houses. In 2019 he made a spectacular debut at the Royal Opera House as Apollo in Britten’s Death in Venice, singing to sold–out audiences at Covent Garden, and immediately after he joined the roster of the Metropolitan Opera. A dramatically persuasive and intensely musical interpreter, he is recognized for winning over audiences with his stunning vocal beauty, stylish singing, and charismatic stage presence. As the lead role of the Refugee in Jonathan Dove’s Flight at Seattle Opera in 2021, a performance for which he was highly praised in the press, Musical America noted Randall to be ‘marvelous’ with a ‘plangent, rich–toned instrument’. He made his Bayerische Staatsoper debut in 2022 as the role of Michael in the groundbreaking modern opera Thomas by Georg Friedrich Haas. His debut solo album, The Crown: Heroic Arias for Senesino with Laurence Cummings conducting the Orchestra of the Age of Enlightenment, received widespread international praise: ‘ravishing vocalism... this recording captures his dramatic artistry’ (BBC Music Magazine); ‘Scotting’s full, darkly mellifluous voice – smooth and even throughout its range, with a resonant lower register – is well suited to these amorous outpourings’ (Gramophone); ‘If charismatically sung baroque opera arias are your thing, Randall Scotting is your man’ (Limelight).
Randall’s past engagements have linked him with major US and European opera houses, orchestras, and venues, including the Lyric Opera of Chicago, Santa Fe Opera, Carnegie Hall, Edinburgh’s Saint Cecilia’s Hall, Italy’s Spoleto Festival, the Göttingen Handel Festival, Boston Baroque, the New York Philharmonic, and many others. He has also been featured singing the music of JC Bach and speaking about the young Mozart on the BBC documentary Mozart’s London Odyssey. Operatic roles for which he has received acclaim include the leads in Handel’s Rinaldo, Orlando, and Giulio Cesare; Gluck’s Orfeo; and Britten’s A Midsummer Night’s Dream.
Alongside more traditional repertoire, Randall plunges headfirst into all manner of musical genres, regularly singing art song, new commissions, and even cabaret. He has performed in staged versions of Xenakis’ The Oresteia, Maxwell Davies’ Eight Songs for a Mad King, and Schoenberg’s Pierrot Lunaire. Randall trained at the Royal College of Music in London, the Juilliard School in New York, and as a Fulbright Scholar at the Liszt Academy in Budapest.
He made his leading operatic debut at Spoleto’s Festival dei due mondi in Vivaldi’s Ercole su’l Termodonte with the ensemble Il Complesso Barocco (also released on DVD). Randall can be heard on other recordings as the soloist in a modern cantata for chorus and countertenor entitled Dive: A Water Music and as the title role in Antonio Caldara’s oratorio Santo Stefano primo re dell’Ungheria. In 2023, he will also release an album of love duets and arias from 17th– century Venice with the Academy of Ancient Music. Remarkably tall with a uniquely muscular build, he breaks the familiar countertenor mold with his warm, full, and resonant sound, defying stereotypes and setting a new standard in the voice part.

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Orchestra of the Age of Enlightenment

Three decades ago, a group of London musicians took a good look at that curious institution we call the orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born. Since then, the OAE has shocked, changed and mesmerised the music world. Residencies at the Southbank Centre and Glyndebourne haven’t numbed its experimentalist bent. Record deals haven’t ironed out its quirks. Period-specific instruments have become just one element of its quest for authenticity. Today the OAE is cherished more than ever. It still...
more

Three decades ago, a group of London musicians took a good look at that curious institution we call the orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born.

Since then, the OAE has shocked, changed and mesmerised the music world. Residencies at the Southbank Centre and Glyndebourne haven’t numbed its experimentalist bent. Record deals haven’t ironed out its quirks. Period-specific instruments have become just one element of its quest for authenticity.

Today the OAE is cherished more than ever. It still pushes for change, and still stands for excellence, diversity and exploration. And almost three decades on, there’s still no orchestra in the world quite like it.

© Andrew Mellor
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Laurence Cummings (conductor)

Press

Play album Play album
01.
Eumene, Act II: Ricordati che offesa (Eumene)
04:20
(Giovanni Antonio Giaj) Randall Scotting, Randall Scotting, Orchestra of the Age of Enlightenment
02.
Vespasiano, Act I: Lasso! Ch’io t’ho perduta (Tito)
06:27
(Attilio Ariosti) Randall Scotting, Orchestra of the Age of Enlightenment
03.
Olimpiade, Act II: Se cerca, se dice (Megacle)
02:07
(Giuseppe Maria Orlandini) Randall Scotting, Orchestra of the Age of Enlightenment
04.
Caio Marzio Coriolano: March of the Dead
01:00
(Attilio Ariosti) Randall Scotting, Orchestra of the Age of Enlightenment
05.
Adelaide, Act III: Adelaide, a te vengo (Ottone)
00:31
(Giuseppe Maria Orlandini) Randall Scotting, Orchestra of the Age of Enlightenment
06.
Adelaide, Act III: Vedrò più liete, e belle (Ottone)
07:47
(Giuseppe Maria Orlandini) Randall Scotting, Orchestra of the Age of Enlightenment
07.
Adriano in Siria, Act III: Di vassallo, e d’amante (Farnaspe)
00:43
(Giovanni Alberto Ristori) Randall Scotting, Orchestra of the Age of Enlightenment
08.
Adriano in Siria, Act III: Son sventurato (Farnaspe)
07:30
(Giovanni Alberto Ristori) Randall Scotting, Orchestra of the Age of Enlightenment
09.
Griselda, Act II: Dolce sogno (Gualtiero)
05:58
(Giovanni Battista Bononcini) Randall Scotting, Orchestra of the Age of Enlightenment
10.
Eumene, Act II: Sì, tu trovasti
00:35
(Giovanni Antonio Giaj) Randall Scotting, Orchestra of the Age of Enlightenment
11.
Eumene, Act II: Fra l’orror d’atra foresta (Eumene)
05:20
(Giovanni Antonio Giaj) Randall Scotting, Orchestra of the Age of Enlightenment
12.
Adelaide, Act II: Con due pegni (Ottone)
00:33
(Giuseppe Maria Orlandini) Randall Scotting, Orchestra of the Age of Enlightenment
13.
Adelaide, Act II: Non disperi peregrino (Ottone)
08:33
(Giuseppe Maria Orlandini) Randall Scotting, Orchestra of the Age of Enlightenment
14.
Demetrio, Act II: Non so frenar il pianto (Demetrio)
04:09
(Geminiano Giacomelli) Randall Scotting, Orchestra of the Age of Enlightenment
15.
Griselda, Act I: Affetto gioia (Gualtiero)
04:56
(Giovanni Battista Bononcini) Randall Scotting, Orchestra of the Age of Enlightenment
16.
Adelaide: Sinfonia 'Minuet
01:20
(Giuseppe Maria Orlandini) Randall Scotting, Orchestra of the Age of Enlightenment
17.
Caio Marzio Coriolano, Act II: So che guarda (Coriolano)
05:34
(Attilio Ariosti) Randall Scotting, Orchestra of the Age of Enlightenment
18.
Ascanio, Act II: Non può quest’alma in sen (Ascanio)
07:00
(Antonio Lotti) Randall Scotting, Orchestra of the Age of Enlightenment
show all tracks

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