Handel in Rome Nardus Williams, Dunedin Consort & John Butt

• George Frideric Handel (1685 - 1759): Ero e Leandro "Qual ti riveggio, oh Dio", HWV 150:
• 1 Handel: Ero e Leandro "Qual ti riveggio, oh Dio", HWV 150: I. Recitativo. Qual ti riveggio, oh Dio 00:36
• 2 Handel: Ero e Leandro "Qual ti riveggio, oh Dio", HWV 150: II. Aria. Empio mare, onde crudeli 06:45
• 3 Handel: Ero e Leandro "Qual ti riveggio, oh Dio", HWV 150: III. Recitativo. Amor, che ascoso ne’ suoi vaghi lumi 00:40
• 4 Handel: Ero e Leandro "Qual ti riveggio, oh Dio", HWV 150: IV. Aria. Se la morte non vorrà 06:13
• 5 Handel: Ero e Leandro "Qual ti riveggio, oh Dio", HWV 150: V. Recitativo. Questi dalla mia fronte 00:48
• 6 Handel: Ero e Leandro "Qual ti riveggio, oh Dio", HWV 150: VI. Aria. Si muora, si muora 06:48
• 7 Handel: Ero e Leandro "Qual ti riveggio, oh Dio", HWV 150: VII. Recitativo. Ecco, gelide labbra 01:08
• Tra le fiamme, HWV 170:
• 8 Handel: Tra le fiamme, HWV 170: I. Aria. Tra le fiamme tu scherzi per gioco 05:12
• 9 Handel: Tra le fiamme, HWV 170: II. Recitativo. Dedalo già le fortunate penne tessea 00:45
• 10 Handel: Tra le fiamme, HWV 170: III. Aria. Pien di nuovo e bel diletto 04:34
• 11 Handel: Tra le fiamme, HWV 170: IV. Recitativo. Sì, sì purtroppo è vero 00:17
• 12 Handel: Tra le fiamme, HWV 170: V. Aria. Voli per l’aria chi può volare 02:46
• 13 Handel: Tra le fiamme, HWV 170: VI. Recitativo. L’uomo che nacque per salire al cielo 00:19
• 14 Handel: Tra le fiamme, HWV 170: VII. Aria. Tra le fiamme tu scherzi per gioco 02:20
• Armida abbandonata, HWV 105:
• 15 Handel: Armida abbandonata, HWV 105: I. Accompagnato. Dietro l’orme fugaci del guerrier 00:59
• 16 Handel: Armida abbandonata, HWV 105: II. Aria. Ah, crudele! E pur ten vai 05:19
• 17 Handel: Armida abbandonata, HWV 105: III. Recitativo. Per te mi struggo 00:23
• 18 Handel: Armida abbandonata, HWV 105: IV. Accompagnato. O voi, dell’ incostante 00:57
• 19 Handel: Armida abbandonata, HWV 105: V. Aria. Venti, fermate 02:36
• 20 Handel: Armida abbandonata, HWV 105: VI. Recitativo. Ma che parlo, che dico? 01:05
• 21 Handel: Armida abbandonata, HWV 105: VII. Aria. In tanti affanni miei 04:09
• Il trionfo del Tempo e del Disinganno, HWV 46a:
• 22 Handel: Il trionfo del Tempo e del Disinganno, HWV 46a: Tu del ciel ministro eletto 05:28
• Total Runtime 01:00:07

Info zu Handel in Rome

Händels Ankunft in Rom scheint einen wundersamen Einfluss auf seine Entwicklung als Komponist gehabt zu haben. Irgendetwas an der ewigen Stadt löste die produktivste Periode seiner gesamten Karriere aus: Dort arbeitete Händel mit einigen der größten Musiker seiner Zeit zusammen und genoss innerhalb kürzester Zeit die Gunst der wichtigsten Kunstmäzene. Dort wurde er auch Zeuge, wie die klerikale Aristokratie genau den Luxus, die Ausschweifungen und den Prunk der Schönheit genoss, den sie in ihren Predigten abzulehnen pflegte. Mit "Händel in Rom" vermitteln das Dunedin Consort und sein Leiter John Butt, Händels Reaktion auf diese anregende und etwas widersprüchliche Umgebung mit drei italienischen Kantaten. Die Sopranistin Nardus Williams, Gewinnerin des Rising Talent Award bei den International Opera Awards 2022, ist der Star dieser Aufnahme.

Nardus Williams, Sopran
Dunedin Consort
John Butt, Leitung

Nardus Williams
Winner of the Rising Talent award at the 2022 International Opera Awards, Nardus Williams has established herself as one of the most exciting and versatile young British singers of her generation.

In the 24/25 season, highlights include Handel Gloria with the Tonkünstler Orchestra at the Grafenegg Festival and with Orchestra of the Eighteenth Century at the Concertgebouw, Mozart Mass in C in her debut with the NFM Wrocław Philharmonic Orchestra, Beethoven Symphony No.9 with The Hallé, Angelo in Handel La Resurrezzione on tour with Le Banquet Celeste, a recital with Elizabeth Kenny at the Beverley Early Music Festival and Bach St John Passion with the Dunedin Consort. In opera, she returns to English National Opera as Countess Le nozze di Figaro. Williams continues with performances of her recital programme ‘I never laid eyes on Aeneas…: Women’s Stories From The Ancient World’ alongside Dame Mary Beard and Elizabeth Kenny.

Last season, Williams returned to Opéra de Rouen Normandie for Donna Anna Don Giovanni and to Philharmonia Baroque as Belinda in Errollyn Wallen Dido’s Ghost, gave the world premiere of George Lewis’ The Comet / Poppea as Poppea and made her house debut as Fiordiligi Così fan tutte for Opera Australia. On the concert platform, highlights included her Berlin Philharmonie debut with Academy of Ancient Music, the title role in Handel Esther at the London Handel Festival, Fauré Requiem with Toronto Symphony Orchestra, Mozart Mass in C in her debut with the LPO, Bach St Matthew Passion with The Bach Choir, Handel Brockes Passion with the English Concert, and two appearances at the BBC Proms, including Handel Messiah with the Academy of Ancient Music and a performance of her recital programme ‘I never laid eyes on Aeneas…: Women’s Stories From The Ancient World’. Williams toured with Dunedin Consort, Europa Galante and Orchestra of the Eighteenth Century, returned to the Wigmore Hall and made her debut album of Handel's Italian Cantatas for Linn Records with the Dunedin Consort.

Recent operatic highlights include Adina L’elisir d’amore and Countess Le nozze di Figaro for Glyndebourne, Helena A Midsummer Night’s Dream for Opéra de Rouen Normandie, Anne Trulove The Rake’s Progress on the Glyndebourne tour, Fiordiligi Così fan tutte, Mimi La boheme and Micaëla Carmen for English National Opera, Countess Le nozze di Figaro for Opera Holland Park and the world premiere of Dido's Ghost - a co-commission with the Dunedin Consort, Mahogany Opera & The Barbican.

A prolific concert artist and recitalist, Williams has sung Tippett A Child of Our Time with the Royal Liverpool Philharmonic Orchestra, Mozart Mass in C at the BBC Proms, Ethel Smyth Mass in D with the BBC Symphony Orchestra alongside appearances with Oxford Lieder, Leeds Lieder, Wigmore Hall and St. John’s Smith Square.

Nardus was a member of the Houston Opera Studio for the 2018/19 season and is a former Jerwood Young Artist at Glyndebourne and a former Harewood Artist with English National Opera. Williams trained at the International Opera School at the Royal College of Music where she was the sole recipient of the prestigious Kiri Te Kanawa Scholarship.

Dunedin Consort
is one of the world’s leading Baroque ensembles, recognised for its vivid and insightful performances and recordings. Formed in 1995 and named after Din Eidyn, the ancient Celtic name for Edinburgh Castle, Dunedin Consort’s ambition is to allow listeners to hear early music afresh, and to couple an inquisitive approach to historical performance with a commitment to commissioning and performing new music. Under the direction of John Butt, the ensemble has earned two coveted Gramophone Awards – for the 2007 recording of Handel’s Messiah and the 2014 recording of Mozart’s Requiem, a BBC Music Magazine Award, and a Grammy nomination. In 2021 it was the recipient of the Royal Philharmonic Society Ensemble Award.

Dunedin Consort performs regularly at major festivals and venues across the UK, including the BBC Proms, Edinburgh International Festival and Lammermuir Festival, with whom it enjoys close associations. In 2017, Dunedin Consort announced its first residency at London’s Wigmore Hall, which continues to this day and complements its regular series of events at home in Scotland, as well as throughout Europe and beyond. The group’s growing discography on Linn Records includes Handel’s Acis and Galatea and Bach’s Brandenburg Concertos, both nominated for Gramophone Awards. Other Bach recordings include Mass in B Minor, Violin Concertos, Magnificat, Christmas Oratorio, Matthew Passion and John Passion, which was nominated for a Recording of the Year award in both Gramophone and BBC Music Magazine, and Orchestral Suites released in October 2022. A recording of Handel’s Samson, in its first version of 1743, was released in October 2019, receiving Editor’s Choice accolades across the board.

Alongside its performance and recording work, Dunedin Consort is committed to a wide-ranging education programme both in schools and in the wider community. In inspiring and encouraging musical participation, developing vocal skills and fostering a love of classical music, historical performance and new music, Dunedin Consort aims to develop and nurture its potential audience and to encourage the performers of the future.

Dunedin Consort is an enthusiastic champion and commissioner of contemporary music, and in recent years has premiered a new set of orchestral dances at the BBC Proms, a new opera by Errollyn Wallen at the Barbican Centre, and new choral music for its a cappella consort.

In 2024 it premiered a new guitar concerto by Cassandra Miller for Sean Shibe, the first instalment of a 3-year co-commissioning series which will see further new music by David Fennessy and Tansy Davies.

John Butt
s Gardiner Professor of Music at the University of Glasgow, musical director of Dunedin Consort and a Principal Artist with the OAE. His career began with his appointment as organ scholar at King’s College Cambridge, and this led to various academic and performing posts (including University Organist at the University of California, Berkeley, 1989-97). His work, as both musician and scholar gravitates towards music of the 17th-18th centuries, but he is also concerned with the implications of the past in our present culture. Author of five monographs centering around Bach, the baroque and the concepts of historical performance practice, his recent work gravitates towards music and modernity, listening cultures and embodied musical experience, music and film.

Having made 11 recordings on organ and harpsichord for Harmonia Mundi (including the complete organ works of Elgar), he has made 18 recordings for Linn Records. Highlights, directing Dunedin, include the Gramophone award-winning recordings of Handel’s Messiah and Mozart’s Requiem (the latter also nominated for a Grammy award), together with recordings of Bach’s Passions, Mass, Magnificat, Christmas Oratorio and Brandenburg Concertos, Monteverdi’s 1610 Vespers, and Handel’s Acis and Galatea, Esther and Ode to St Cecilia. A recording of Handel’s Samson appeared in 2019, which was an Editor’s Choice and Critic’s Choice in Gramophone (nominated for a Gramophone Award), and disc of the month in BBC Music Magazine. His recent recording, of Bach cantatas (including ‘Ich habe genug’) has been exceptionally well received, heading the UK Specialist Classical Chart in October 2021 and winning a BBC Music Magazine Award. A recording of the Bach Orchestral Suites was released in early October 2022. His recording of Mozart’s Mass in C Minor will be released in summer 2023.

With Dunedin he has made multiple appearances at the BBC Proms, London, and Edinburgh Festival, recently at the latter with the new Errollyn Wallen opera, Dido’s Ghost (also performed at the Buxton Festival and the Barbican). As guest conductor he has worked with SCO, City of London Sinfonia, BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, Royal Concertgebouw Orchestra, Rotterdam Philharmonic, Stavanger Symphony, Hallé Orchestra, BBC National Orchestra of Wales, The Orchestra of the Eighteenth Century, The English Concert, Philharmonic Baroque, Portland Baroque Orchestra, Music of the Baroque, Academy of St Martin’s in the Fields, and the Irish Baroque Orchestra.

Since winning the W.H.Scheide prize for his first book, he has received: the Dent Medal of the RMA together with the RAM/Kohn Foundation’s Bach Prize; the award of FBA and FRSE. In 2013 he gained the medal of the Royal College of Organists, together with an OBE.

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