Handel: Mezzo-Soprano Opera Arias

Max Emanuel Cencic is a rare countertenor whose voice possesses the range of colours and subtle dynamics that are genuinely suitable for opera, ranging from the earliest works of Monteverdi to Twenty-First-Century music. This is vastly unlike the British and French counter-parts from the 20th to 21st century, the majority of whom own timbres that excel at sacred rather than secular music.The selection in this album highlights Cencic’s expressive and technical versatility. Apart from ‘Pena tirana’ from Amadigi di Gaula (track 6), and ’Ombra Cara’ from Radamisto, the other tracks are seldom heard of in solo albums of this nature. Recitatives are not included, nor is there instrumental pieces, but the selections from Händel’s pastoral serenata ‘Parnasso in Festa’ include the chorus of Swiss Italian radio. Most of the arias were written for castrati, Senesino and Giovanni Carestini. Several were composed for female singers, such as Margherita Durastanti:-‘Sorge nell’alma mia’ from Imeneo, HWV 41 [Giovanni Battista Andreoni]-‘Alma mia’ from Floridante, HWV 14 [Senesino]-‘Salda quercia in erta balza’ [Giovanni Carestini] and-‘Qual leon che fere irato’ [Margherita Durastanti] from Arianna in Creta, HWV 32-‘Benché mi sprezzi’ from Tamerlano, HWV 18 [Senesino]-‘Se bramate d’amar chi vi sdegna’ from Serse, HWV 40 [Caffarelli]-‘Pena tiranna’ from Amadigi di Gaula, HWV 11 [Diana Vico]-‘Non tardate Fauni ancora’ and-‘Lunga serie d’altri eroi’ from Parnasso in festa, HWV 73 [Carestini]-‘Come nube, che fugge dal vento’ from Agrippina, HWV 6 [Valeriano Pellegrini]-‘Ombra cara’ from Radamisto, HWV 12a [Margherita Durastanti]-‘Verdi allori’ from Orlando, HWV 31 [Francesca Bertolli]The arias chosen were composed for some of the Eighteenth Century’s most famously talented singers: the castrato Giovanni Battista Andreoni, variously noted in contemporary sources as both an alto and a soprano; the contralto Francesca Bertolli, who specialized in trouser roles but was also appreciated as Cleopatra in Giulio Cesare; the high mezzo-soprano castrato Caffarelli, second in fame only to the adored Farinelli; Giovanni Carestini, another remarkable castrato whose voice transitioned during his career from soprano to alto tessitura; the soprano Margherita Durastanti, admired for the expressive power of her performances of Händel’s ‘pathetic’ arias; the soprano castrato Valeriano Pellegrini, twenty years Händel’s senior and a priest after losing his voice in 1728; the renowned alto castrato Senesino; and the contralto Diana Vico, who created the title role in ‘Ottone in Villa’ for Vivaldi in 1713. With ornamentation commonly thought to have been restricted to a third above the indicated melodic lines, the vocal register of this music effectively encompasses two octaves, the range of what is now essentially a lyric mezzo-soprano voice.This album, therefore, features vocal showcases at different registers. Cencic’s remarkable coloratura is in ample display in this album, sometimes ecstatic (as in "Lunga serie d'altri eroi," a scene with chorus from Parnasso in Festa), but usually ferocious, as in "Se bramate d'amar chi vi sdegna" from Serse, and "Sorge nell'alma mia" from Imeneo. Cencic’s lower range is glorious, coupling expressive strength as well as forceful nuances in arias like ‘Benché mi sprezzi’ from Tamerlano (track 4) and the simple but affecting ‘Verdi allori’ from Orlando (track 11). The upper register owns great dexterity and can be forcefully (or dramatically) shrill if required, as is demonstrated in ‘Come nube, che fugge del vento’ from Agrippina (track 9). In such aria Cencic is ably supported by I Barocchisti, giving an insight into Nero’s scheming, duplicitous character.

Having had this CD for some time, I feel the need to add my two cents to the already favorable reviews. Max Emanuel Cencic has for some time been one of my favorite singers. His ability to put total passion in his singing is just wonderful. He is totally free of the sometimes annoying "hooty" sound that plagued British countertenors of the past (and present). The European generation seems to be free of this, witness Philippe Jaroussky, Valer Sabadus, Franco Fagioli and others.Hearing this amazing singer in music that is definitely above the likes of Scarlatti and Hasse is very rewarding. Listen to the intense and almost heavenly beauty of Floridante's "Alma mia" sung in a way that could not be bettered, Tamerlano's "Benché mi sprezzi" can be compared to his new complete recording, just out. It is every bit as good.Much as I admire his florid singing in the fast arias, it is the slow music that moves me. Mr. Cencic gets the chance to really pull the listener into his world. And don't forget Radamisto's "Ombra Cara".In a word, a recital that must not be missed by anyone interested in great singing, or great music!

"FOR EVERY SINGER HANDEL'S MUSIC PRESENTS AN ENORMOUS CHALLENGE IN TERMS OF EXPRESSION, TECHNICAL ABILITY AND A STANDARD OF GOOD OPERATIC TASTE." Max Emmanuel Cencic, 2010.George Frederick Handel (1685-1759), an international German who wrote like an Italian, became a naturalized Englishman in 1726, though he never lost his German accent. An English critic wrote "He did bestride our musical world like a Colossus." The description is apt, for George was a huge, fleshy man, who ate, drank and composed music all on a grand scale.It pleased me greatly to read Cencic's commentary in the liner notes, for he was most accurate in his opening statement with which I began this review. Fortunately, for him, his singing more than met the challenge on this recording. Concerning the programming, the sheer beauty and technical demands supply the only connection between the selections. Many were written for the male castrati, but there were some written specifically for female singers such as Margherita Durastanti. Therefore, the arias encompass a wide voice range and registers. The fact that there are no introductory recitatives or ensemble pieces detract somewhat from the dramatic impetus.Cencic excels most in his lower range, and has more resonance and strength at that level. While his upper range is flexible and well-placed, occasionally an ultra-high note loses focus and becomes somewhat strident. It is evident also that some tempos are taken much faster than is usual and while this makes for a 'flashy' rendition it tends to sometimes cause the drama to go by the wayside. Two examples where tempo influenced the interpretation are: the highly emotional aria 'Benche mi sprezzi' from Tamerlano was sung in 5min.51seconds; if you compare this with Gardiner's 1985 recording with Michael Chance singing the same aria, we have a time of 7min50seconds which gave Chance plenty of time to display the intense emotion therein. Ironically another example in which the aria was taken slower than usual was the highly spirited 'Come tuba...'from Agrippina which Cencic sang in 4min.12seconds; if you compare this to Derek Ragin who sang it in Gardiner's 1991 recording in 3min30seconds you will note the lightness of tone it allowed. However, Cencic's voice is thicker than Ragin's so the tempo was no doubt more correct for Cencic. Of course I hasten to add that this may not matter at all unless you are a Handel Opera Aficionado, but I do get hooked on tempos, especially when it involve the interpretaton of the aria.Cencic herein delivers an entertaining and magnificent vocal production His overall impression is one of poise and tonal flexibility; he endows each aria with elegance. An additional asset for him is the excellent and inspirational accompaniment provided by the highly skilled instrumentalists of I Barocchisti. This is a well-conceived and implemented recording.It is accompanied by an excellent booklet with pertinent information and a complete text translated from the Italian to German, French and English.

Si gustas de las voces de contratenores esta es una excelente opción para disfrutar a uno de los mejores

Remarkable singing. I don't have the musicological language to describe the sound, but I will say I find Cencic's voice thrilling.

The Cencic's performance of Handel is simple divine. It is "must have" in collection of every one who is interested in baroque opera. Great music, fantastic voice, and Fasolis in his top form.

Simply sensational.easily the best counter tenor ever and irresistable even to those who do not like counter tenors.You will not be able to stop playing it as it's so beautiful.

perhaps to my ignorance I had not heard of MAX EMANUEL CENCIC and I'm glad for a recent "HANDEL" album which I purchased revealing this countertenor's gifts !! EXCELLENT MAX E C !!!

Another stunning album of lesser known works sung with vivacity and style, a real pleasure to the ear. I do not have the acute ear or the knowledge that some reviewers possess, for the layman this album is a real pleasure to listen to.

I never wrote a review before but this album deserves one! All 12 arias are sung very beautifully and i must say they do suit Cencic's voice. I'm hooked from the beginning to the end and can't get enough of it! Very well done and highly recommended!

I would believe if I did not know the voice was a countertenor. 💫

Outstanding vocal talent from a superb artist Iam a mezzo soprano and I wish I could sing these arias has good as he can.