Su	Mo	Tu	We	Th	Fr	Sa
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27	28	29	30	31	1	2

Handel, Vivaldi: Seconda Donna - Julia Bohme, La Folia Barockorchester, Robin Peter Muller - 2019

Posted By: Aregak

Date: 15 Jun 2019 04:00:34

Handel, Vivaldi: Seconda Donna - Julia Bohme, La Folia Barockorchester, Robin Peter Muller - 2019
WEB FLAC (tracks, cover, log) | 00:50:53 | 280.20 MB
Classical | Accent / ACC24356

Julia Böhme is described on the cover as a "female alto". Fair enough I suppose; such is the current dominance of the falsettist (in baroque music anyway) that altos are assumed to be male, while lowish females always call themselves "mezzo-sopranos". The word "contralto" is almost forgotten. And indeed Böhme's sound is reminiscent of falsetto - clear and rather hollow – but she is far more powerful and flexible than male altos, and can sing right down to a good loud g without any baritonal embarrassments. No wobble, and a pleasantly unaffected delivery. So far I have only noticed her as a principal alto in Václav Luks' Collegium 1704 – you can see her (a tall lady) in their DVD of Biber's Missa Salisburgensis, where she makes a striking contribution.
On this disc she moves from consort singing to Baroque opera. She doesn't choose works for castrato – which she could easily have done, given her vocal character – but instead goes for the more rarified world of the contralto aria. I don't think this will be her "fach" in the long run, but it makes for a more interesting first recital than yet another recording of arias for Senesino or Farinelli.
In her Handel numbers Böhme covers music for an English contralto, Anastasia Robinson (range bb—eb") , and the Italians Antonia Merighi (a—f") and Francesca Bertolli (bb-e"). None of these were great singers, but competent enough to play "second ladies" for Handel and pants roles too, when the castrati were in short supply. Böhme is probably a better singer technically, and with a bigger range, than any of them; but she has not had their stage training, nor does she have their language, and this shows. Not that I'd want her to go in for wobbly histrionics, but she does need to show more awareness of the sense of her text, and learn to mould a line more expressively.
Böhme shows to best advantage in Anastasia Robinson's arias from "Radamisto" (tracks 10 & 11) and it is these I'd recommend for sampling. She does not do so well in the more elaborate coloratura Handel wrote for Merighi and Bertolli, aspirating continually unless the line runs very quickly – the usual story with modern singers, I fear. Still, she made this recording four years ago, so there has been room for her to progress since. I hope so, and would hope she'd try a Handel opera on the stage (at Göttingen, say) though she would probably be best advised to take a castrato role ("secondo uomo" rather than "seconda donna") to take advantage of her power and range.

Tracklist:
George Frideric Handel
Lotario, HWV 26:
01. Furie del crudo averno (1:39)
02. Arma lo sguardo (3:44)
03. Quel superbo (4:11)
Antonio Vivaldi
04. Farnace, RV 711: Forse, o caro, in questi accenti (5:48)
George Frideric Handel
05. Berenice, HWV 38: Gelo, avvampo (4:35)
06. Floridante, HWV 14: Notte cara (4:42)
Antonio Vivaldi
Orlando furioso, RV 819:
07. Amorose ai rai del sole (4:20)
08. Vorresti amor da me (2:56)
09. Farnace, RV 711: Lascia di sospirar (2:21)
George Frideric Handel
Radamisto, HWV 12:
10. Son contenta (4:17)
11. Quando mai spietata sorte (2:51)
Antonio Vivaldi
Orlando furioso, RV 819:
12. Asconderò il mio sdegno (2:37)
13. Se cresce un torrente (2:02)
14. Argippo, RV 697: Se lento ancora il fulmine (3:56)

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Conclusion: CDDA 99%
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FILE: 03 Lotario HWV 26 Quel superbo.flac
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FILE: 01 Lotario HWV 26 Furie del crudo averno.flac
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Conclusion: CDDA 100%
Signature: 9A9C5ACA6A8984B96524528C7D88B2C85B4B4477

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2019 Baroque Vocal Classical Lossless