Georg Friedrich Händel: Rinaldo (1731) Filippo Mineccia, Vivica Genaux, Roberta Mameli, Marco Angioloni, Il Grovigliio

• Georg Friedrich Händel (1685 - 1759): Rinaldo (1731):
• 1 Händel: Rinaldo (1731): Ouverture 05:44
• 2 Händel: Rinaldo (1731): Recitativo: Delle nostre fatiche 00:29
• 3 Händel: Rinaldo (1731): Aria: Sovra balze 03:57
• 4 Händel: Rinaldo (1731): Recitativo: Signor, già dal tuo senno 01:05
• 5 Händel: Rinaldo (1731): Aria: Quel cor che mi donasti 05:51
• 6 Händel: Rinaldo (1731): Recitativo: Questi saggi consigli 00:15
• 7 Händel: Rinaldo (1731): Aria: Ogn' indugio 03:22
• 8 Händel: Rinaldo (1731): Recitativo: Signor, che delle stelle 00:38
• 9 Händel: Rinaldo (1731): Sinfonia 00:31
• 10 Händel: Rinaldo (1731): Recitativo: Goffredo, se t'arrise 00:59
• 11 Händel: Rinaldo (1731): Aria: D'nstabile fortuna 04:57
• 12 Händel: Rinaldo (1731): Recitativo: Infra dubbi di Marte 00:32
• 13 Händel: Rinaldo (1731): Aria: Furie terribili 02:25
• 14 Händel: Rinaldo (1731): Recitativo ed Accompagnato: Come a tempo giungesti 01:04
• 15 Händel: Rinaldo (1731): Aria: Sulla ruota di fortuna 03:15
• 16 Händel: Rinaldo (1731): Recitativo: Mia fia la gloria 00:27
• 17 Händel: Rinaldo (1731): Aria: Combatti da forte 04:01
• 18 Händel: Rinaldo (1731): Aria: Augelletti, che cantate 04:24
• 19 Händel: Rinaldo (1731): Recitativo: Adorato mio sposo 00:30
• 20 Händel: Rinaldo (1731): Duetto: Scherzano sul tuo volto 03:17
• 21 Händel: Rinaldo (1731): Recitativo: Al valor del mio brando 00:16
• 22 Händel: Rinaldo (1731): Sinfonia 00:27
• 23 Händel: Rinaldo (1731): Aria: Cara sposa 09:04
• 24 Händel: Rinaldo (1731): Recitativo: Che insolito stupore 02:18
• 25 Händel: Rinaldo (1731): Aria: Cor ingrato 01:56
• 26 Händel: Rinaldo (1731): Recitativo: Un mio giusto dolor 00:42
• 27 Händel: Rinaldo (1731): Recitativo: Di speranza un bel raggio 00:25
• 28 Händel: Rinaldo (1731): Aria: Venti, turbini, prestate 03:41
• 29 Händel: Rinaldo (1731): Aria: Siam prossimi al porto 02:35
• 30 Händel: Rinaldo (1731): Recitativo: A quel sasso bramato 01:22
• 31 Händel: Rinaldo (1731): Aria: Il vostro maggio 02:15
• 32 Händel: Rinaldo (1731): Recitativo: Qual incognita forza 00:57
• 33 Händel: Rinaldo (1731): Aria: Il Tricerbero umiliato 01:50
• 34 Händel: Rinaldo (1731): Recitativo: Numi! Strano ardimento! 00:25
• 35 Händel: Rinaldo (1731): Aria: Mio cor, che mi sai dir? 02:56
• 36 Händel: Rinaldo (1731): Recitativo: Armida dispietata! 01:15
• 37 Händel: Rinaldo (1731): Aria: Lascia ch'io pianga 03:55
• 38 Händel: Rinaldo (1731): Recitativo: T'arresta, oh Dio! 00:13
• 39 Händel: Rinaldo (1731): Aria: Per salvarti, idolo mio 05:24
• 40 Händel: Rinaldo (1731): Recitativo: Cingetemi d'alloro 00:29
• 41 Händel: Rinaldo (1731): Recitativo: Perfida, un cor illustre 02:34
• 42 Händel: Rinaldo (1731): Duetto: Fermati! 01:54
• 43 Händel: Rinaldo (1731): Recitativo: Ah! Rinaldo crudel 00:56
• 44 Händel: Rinaldo (1731): Aria: Abbruggio, avvampo e fremo 02:28
• 45 Händel: Rinaldo (1731): Accompagnato e Recitativo: Dunque 02:29
• 46 Händel: Rinaldo (1731): Recitativo: Sembianze idolatrate 01:10
• 47 Händel: Rinaldo (1731): Aria: Arma lo sguardo 04:48
• 48 Händel: Rinaldo (1731): Aria: Ah! crudel 03:09
• 49 Händel: Rinaldo (1731): Recitativo: Rasserena i bei lumi 00:40
• 50 Händel: Rinaldo (1731): Aria: Parolette, vezzi e sguardi 04:33
• 51 Händel: Rinaldo (1731): Sinfonia 01:52
• 52 Händel: Rinaldo (1731): Recitativo: Quivi par che rubelle 00:34
• 53 Händel: Rinaldo (1731): Recitativo: La causa che vi spinge 00:45
• 54 Händel: Rinaldo (1731): Sinfonia 00:49
• 55 Händel: Rinaldo (1731): Recitativo: Qui vomita cocito Goffredo, Mago 00:40
• 56 Händel: Rinaldo (1731): Aria: Andate, o forti Mago 02:26
• 57 Händel: Rinaldo (1731): Recitativo: A fronte d'un sleal 01:16
• 58 Händel: Rinaldo (1731): Aria: Di Sion nell'alta sede 03:14
• 59 Händel: Rinaldo (1731): Recitativo: Mori svenata! 00:49
• 60 Händel: Rinaldo (1731): Recitativo: Nella guardata soglia 01:26
• 61 Händel: Rinaldo (1731): Aria: È un incendio fra due venti 03:42
• 62 Händel: Rinaldo (1731): Recitativo: Fremo nel mio furor 00:10
• 63 Händel: Rinaldo (1731): Duetto: Al trionfo del nostro furore 03:34
• 64 Händel: Rinaldo (1731): Accompagnato: Orrori menzogneri 02:18
• 65 Händel: Rinaldo (1731): Recitativo: A voi de' miei trofei 00:33
• 66 Händel: Rinaldo (1731): Aria: Vedrò più liete e belle 06:00
• 67 Händel: Rinaldo (1731): Recitativo: Ciel crudele! Empia sorte! 00:53
• 68 Händel: Rinaldo (1731): Aria: Fatto è Giove un dio d'inferno 03:37
• 69 Händel: Rinaldo (1731): Sinfonia 00:32
• 70 Händel: Rinaldo (1731): Recitativo: Compagni gloriosi 00:56
• 71 Händel: Rinaldo (1731): Aria: Sì, caro, sì 03:52
• 72 Händel: Rinaldo (1731): Recitativo: Chi vuol giunger di gloria 00:14
• 73 Händel: Rinaldo (1731): Coro: Vinto è sol dalla virtù 01:18
• Total Runtime 02:36:19

Info for Georg Friedrich Händel: Rinaldo (1731)

Having barely arrived in London, Handel laid the foundations for his unprecedented operatic career in 1711 with the magic opera Rinaldo. In addition to the novel Italian music, the fantastic plot, which exploited all the possibilities of baroque theatre, also met with enthusiasm from the audience: love, anger and passion amid sensational scene changes, fire-breathing monsters, flying dragons and an exotic magical island. The libretto, based on an episode from Torquato Tasso's epic Gerusalemme liberata, which was popular at the time, tells the story of the young crusader Rinaldo, who would much rather marry his beloved Almirena than fight and who must resist the magical arts of the sorceress Armida - who is in love with him - in order to find happiness.

Twenty years later, in 1731, Handel fundamentally revised his successful opera once again. This rarely performed version can be heard here for the first time and features an outstanding cast of singers, above all the leading Italian countertenor Filippo Mineccia in the main role and Roberta Mameli and Vivica Genaux as the ladies fighting for him. Marco Angioloni, who also sings Goffredo, conducts the young ensemble Il Groviglio with verve.

Filippo Mineccia, countertenor (Rinaldo)
Roberta Mameli, soprano (Almirena)
Vivica Genaux, mezzo-soprano (Armida)
Logan Lopez Gonzales, countertenor (Argante)
Ensemble Il Groviglio
Marco Angioloni, conductor

Filippo Mineccia
Born in Florence, countertenor Filippo Mineccia has gained an international reputation for being one of the leading specialists in the repertoire of the castrato era. He has worked with renowned conductors such as Ottavio Dantone, Diego Fasolis, Václav Luks, Christophe Rousset, David Stern, Jordi Savall, Antonio Florio, Thomas Hengelbrock, Michael Hofstetter, Adam Viktora, Javier Ulises Illán, Ruben Jais, Enrico Onofri and the late Alan Curtis.

Filippo Mineccia has appeared in a number of roles in Handel’s operas including Tolomeo and the title role in Giulio Cesare at the Opéra Royal du Château de Versailles, Unulfo (Rodelinda) at the Opera Rara Festival in Krakow and Ottone (Agrippina) at the Theater an der Wien, as well as the title role in Rinaldo, Alessandro (Tolomeo) and Oronte (Riccardo Primo). His appearances at the Handel Festival in Halle include Demetrio (Berenice), Dardano (Amadigi di Gaula) and the title role in Lucio Cornelio Silla.

Other appearances include Ottone (L’incoronazione di Poppea) at the Liceu in Barcelona and the Teatro Colón in Buenos Aires, Endimione (Cavalli’s La Calisto) in Strasbourg, Carmina Burana at the Teatro dell’Opera in Rome and Bach’s Magnificat with the NHK Symphony Orchestra and Thomas Hengelbrock in Tokyo. Appearances in rarer repertoire include Achille in Francesco Sacrati’s La finta pazza with Leonardo García Alarcón in Dijon, Geneva and Versailles and Anassandro in the first modern performances of Riccardo Broschi’s Merope conducted by Alessandro De Marchi in Innsbruck and at the Theater an der Wien. Recent and future engagements include Scarlatti’s Cain, overo Il primo omicidio with Ensemble Artaserse and Philippe Jaroussky in Montpellier and Salzburg, a revival of La finta pazza at Versailles and a recording project for three countertenors with the newly founded Orchestre de l’Opéra Royal de Versailles and Stefan Plewniak.

Roberta Mameli
Born in Rome, Roberta Mameli graduated in singing and in violin at the Nicolini Conservatory in Piacenza, followed by master classes with Bernadette Manca di Nissa, Ugo Benelli, Konrad Richter, Claudio Desderi and Enzo Dara.

She is regularly invited to perform at the most important opera houses and venues: Wiener Konzerthaus, Theater an der Wien, Concertgebouw Amsterdam, Cité de la Musique in Paris, Teatro Colón in Buenos Aires, Auditorium National de Lyon, Tokyo Opera City, Teatro del Maggio Musicale Fiorentino, Gran Teatre del Liceu in Barcelona, Teatro Regio in Turin, Grand Théâtre in Geneva, Bayerische Staatsoper in München, Staatsoper Unter den Linden and Pierre-Boulez Saal in Berlin, Shanghai Grand Theatre.

She collaborates with conductors such as Jordi Savall, Daniele Callegari, Diego Fasolis, Fabio Biondi, Federico Maria Sardelli, Ottavio Dantone, Ton Koopmann, Leonardo García Alarcón, Jean-Christophe Spinosi, Marco Armiliato, Francesco Corti, Enrico Onofri, the late Claudio Abbado, Alan Curtis, Christopher Hogwood, Václav Luks and Jeffrey Tate.

Much in demand for Early Music repertoire, she works with several ensembles on period instruments such as Akademie für Alte Musik Berlin, Complesso Barocco, Capella Cracoviensis, Accademia Bizantina, Le Concert des Nations, La Venexiana, Modo Antiquo, Europa Galante, I Barocchisti, Cappella Mediterranea, Il Pomo d’Oro, Collegium 1704.

She had great success singing the title role in Monteverdi’s « L’incoronazione di Poppea » with Diego Fasolis and Akademie für Alte Musik Berlin in 2018 at the Berlin Staatsoper and at Teatro Ponchielli in Cremona in 2023

She has appeared in numerous Baroque operas including Purcell’s « Dido and Aeneas » (Belinda), Vivaldi’s « Catone in Utica » (Cesare), Leonardo Vinci’s « Didone abbandonata » (title role) and Rameau’s « Les Indes Galantes » (Amour/Zaïre) in a Leonardo García Alarcón/Lydia Steier production at the Grand Théâtre de Genève.

She was seen on stage in Handel’s « Ariodante » (Ginevra) and « Agrippina » (Poppea), both at the Drottningholm Festival.

She embodied the role of Aci in « Aci, Galatea e Polifemo » for the Bucharest George Enescu Festival and London Wigmore Hall.

As for the Mozart repertoire, she was an amazing Vitellia in « La Clemenza di Tito » in Pierre-Emmanuel Rousseau’s staging at Théâtre de Rennes, Angers and Nantes.

She was Aminta ( Il Re Pastore ) at Teatro La Fenice in Venice and Arminda in La Scala’s production of La Finta giardiniera led by Diego Fasolis for the Shanghai Grand Theatre.

She’s a regular guest of the Music Festival Potsdam Sanssouci where she performed several rare operas.

Her discography contains L’Incoronazione di Poppea (Naïve), Il Ritorno d’Ulisse in patria by Monteverdi; Artemisia by Cavalli (Glossa); Il Diamante by Zelenka (Nibiru); La Scola de’ gelosi by Salieri (Sony DHM) and the following works by Vivaldi: Teuzzone, Orlando furioso 1714 (Naïve), Il Farnace, L’Incoronazione di Dario (Dynamic). Moreover, she released several solo albums among which “Round M: Monteverdi meets Jazz” (Glossa) and “Anime Amanti” (Alpha) awarded with the prestigious Diapason d’Or 2017.

Recent and future projects include La Contessa in « Le Nozze di Figaro » in the Mozart/Da Ponte Trilogy conceived by Marc Minkowski and Ivan Alexandre at Teatro Verdi di Salerno, the Bach’s Cantata BWV 51 under the baton of Ton Koopman at Teatro Petruzzelli in Bari, a Solo recital with Il Pomo d’Oro in Venice, the roles of Giunone + Eternità in Cavalli’s « Calisto » in a Christopher Moulds/David Alden production at Bayerische Staatsoper, a tournée in « L’incoronazione di Poppea » ( title role ) at Teatro Sociale di Como, Teatro Fraschini di Pavia, Teatro Verdi di Pisa and Teatro Alighieri di Ravenna and Teti in « Le nozze di Nettuno e Teti » conducted by Václav Luks at Wiener Konzerthaus.

Vivica Genaux
Beginning 2023 with her first depiction of the Persian prince Cyrus in Theater an der Wien’s staging of Händel’s oratorio Belshazzar, internationally-renowned mezzo-soprano Vivica Genaux embarks on a year in which she returns to beloved music and venues and celebrates new additions to her repertoire. Following Vivaldi concerts with Bach Consort Wien in Barcelona, Madrid, and Girona, she returns to Händel, singing Ino and Juno in Semele and Dejanira in Hercules (rôle début) with Internationale Händel-Festspiele Göttingen. Later, she travels to Buenos Aires for a concert at Teatro Colón.

A 2008 recipient of Pittsburgh Opera’s Renaissance Award, Vivica returns to Pittsburgh in October 2022 for Quantum Theatre’s and Chatham Baroque’s modern-première production of Riccardo Broschi’s opera Idaspe, interpreting the rôle of Dario, written for the composer’s brother, legendary castrato Farinelli. Subsequently, her passion for the music of Georg Friedrich Händel takes her to Yokohama, Japan, for a reprise of her portrayal of Lepido in Lucio Cornelio Silla with Europa Galante. Following a performance of her recital programme Capriccio: temi e variazioni in Spain in November, the Eternal City welcomes her for a concert at Villa Torlonia.

In August 2022, Vivica made her first foray into Verdi repertoire with her rôle début as Giulietta di Kelbar in a concert performance of Un giorno di regno at Warsaw’s ‘Chopin and his Europe’ Festival. She furthered her dedication to nurturing future generations of singers by adjudicating Innsbrucker Festwochen der Alten Musik’s Cesti Competition and leading masterclass courses for Associazione Musicale Tito Gobbi and Festival Internacional de Música y Danza de Granada. June 2022 witnessed Vivica’s rôle début as Alcina in Vivaldi’s Orlando furioso at Dortmund’s Klangvokal 2022 and a Händel-Festspiele Halle concert featuring Händel-Preis winners. In April 2022, she unveiled a new concert programme, Lucifera, with Chicago’s Third Coast Baroque.

During her storied career, Vivica has amassed a repertoire of more than sixty rôles in opera and oratorio, many of them travesti parts. Acclaimed for her vocal agility and the emotional depth of her performances, she is a celebrated interpreter of Baroque and bel canto works, especially parts composed for castrati. Male and female rôles in the operas of Gioachino Rossini remain a cornerstone of her repertoire. It was in her most-performed rôle, Rosina in Il barbiere di Siviglia, that she débuted at New York’s Metropolitan Opera in 1997.

A native of Fairbanks, Alaska, Vivica launched her professional career in 1994 as Isabella in Rossini’s L’italiana in Algeri with Milwaukee’s Florentine Opera Company. The host of awards that her work has garnered include an ARIA Award, New York City Opera’s Christopher Keene Award, the Hasse-Preis, International Opera and International Classical Music Awards, and four GRAMMY® nominations. An indefatigable advocate for neglected and under-appreciated music, she has contributed indelibly to the renewal of interest in the operas and cantatas of Johann Adolf Hasse. Formalizing her initiative to share her experience and expertise with young singers, she established V/vox Academy in 2017, and she continues to refine her own technique via interactions with peers and pedagogues.

Logan Lopez Gonzales
Belgian countertenor, Logan Lopez Gonzalez studied at conservatoire royal de Mons (BE) and Royal Academy of Music. Logan is an alumni of the National Opera Studio, La monnaie/de Munt academy and the Britten Pears Young Artist Program.

Logan made his soloist debut at 21 years old by appearing as Frantík and Grasshopper in The Cunning Little Vixen at La Monnaie and Amore in The Coronation of Poppea at Angers/Nantes Opéra, directed by Moshe Leiser & Patrice Caurier. At the Royal Academy of Music, Logan performed the role of Oberon in Britten’s A Midsummer Night’s Dream, conducted by Sian Edwards.

Logan is a very versatile artist, he collaborates as soloist with various baroque ensembles like Capella Mediterranea, Concerto Soave, Il Groviglio, Le concert bourgeois, l’Orchestre Royal de l’opera de Versailles,…

Logan has also been taking part in many contemporary works and world premieres such as Be my superstar at LOD muziektheater, Opera Vlaanderen and Dutch Nationale Opera. The title role in SOLAR, Icarus Burning at La Monnaie Brussels, the Portuguese opera The Girl, the Hunter and the Wolf as the Wolf by Vasco Mendoça or OGRES by Simon Voseček at Prague national Theatre. In 2023, Logan co-created 555: Verlaine en prison with stage director Eleanor Burke. A queer show about the life of French poet Paul Verlaine. It premiered at La Monnaie in 2023 before transferring to the Grimeborn Opera Festival and the Royal Opera House, London in 2024.

The show has been recently payed at the Arcola Theatre and Logan has been nominated for the Off West End theatre Awards (UK) as Best Performance.

This season, Logan will be performing at Opéra de Versailles, Opéra de Marseille and Opéra National de Lorraine. His recording of Argante in Händel’s Rinaldo will be released this fall by Glossa Music.

Logan also participated in masterclasses with Sir Antonio Pappano, Andrea Marcon, Sandrine Piau, Véronique Gens,…

Booklet for Georg Friedrich Händel: Rinaldo (1731)