ELIZABETH PERRYMAN

Countertenor Christopher Lowrey sings the aria Ombra mai fù, from Handels opera *Serse.* 4K, Ultra HD video from the Voices of Music "Art of the Countertenor" concert, March, 2016.

Please subscribe to our channel www.youtube.com/VoicesofMusic/?sub_confirmation=1

Voices of Music FAQ

Q. How can I support Voices of Music?

A. Donate here: voicesofmusic.org/donate.html and we will make more

videos like this one :) These videos cost thousands of dollars to make, and the money comes from individual donors.

Q. Where can I learn more about this music?

A. You can visit our website, www.voicesofmusic.org/ Also, subscribe to our video channel! Just click on the logo on our videos.

Q. Where can we hear you play in concert?

A. We perform in the San Francisco Bay Area. For a concert schedule, visit our website or join our mailing list www.voicesofmusic.org/

Q. Where can I buy CDs?

A. Our CDs are available on iTunes, Google, Amazon, CD Baby and just about everywhere; you can also buy a CD in a jewel case from Kunaki: www.voicesofmusic.org/cds.html

Q. What is Early Music performance, or historical performance?

A. We play on instruments from the time of the composers, and we use the original music and playing techniques: it’s a special sound.

Q. Why are there no conductors?

A. Conductors weren’t invented until the 19th century; since we seek to recreate a historical performance, the music is led from the keyboard or violin, or the music is played as chamber music~or both :)

Handel’s arias form one of the core repertories for singers of 18th-century music, owing not only to the quality of the compositions but also to the variety of affects and styles present in his operas, oratorios and sacred music. The aria “Ombra mai fù,” known also as “Handel’s Largo,” is one of his best-known works; somewhat surprisingly, it comes down to us through a circuitous path. The original version was composed by Cavalli in the mid-17th century, then “borrowed” by Bononcini for his 1694 production of the opera Serse, then substantially revised by Handel for his own version of Serse which premiered in London in April of 1738. Handels version retains the overall texture, scoring and melodic shapes of the original, but Handel reworks the vocal line and creates more interplay between the singer and the violins.

*Voices of Music is creating a worldwide digital library of music videos, recordings and editions, free for anyone in the world.* To support this vital project, which will enable new generations of people all around the world to enjoy Classical music, please consider a tax-deductible donation or sponsor a recording project. With your help, anything is possible!

www.voicesofmusic.org/donate.html

Ombra mai fù

di vegetabile,

cara ed amabile,

soave più.

—Nicolò Minato

Never was the shade

from any plant

more dear, more lovely,

or so sweet.

The Musicians and their Instruments

Voices of Music performs on original instruments: hear the music played on

instruments from the time of the composer.

Lisa Grodin, baroque viola by Mathias Eberl, Salzburg, Austria, 1680

Kati Kyme, baroque violin by Johann Gottlob Pfretzschner, Mittenwald, 1791

Carla Moore, baroque violin by Johann Georg Thir, Vienna, Austria, 1754

Maxine Nemerovski, baroque violin by Joseph Gaffino, Paris, 1769

Elisabeth Reed, baroque cello, anonymous, 1673

Farley Pearce, violone by George Stoppani, Manchester, 1985, after Amati, 1560

David Tayler, archlute by Andreas von Holst, Munich, 2012, after Tieffenbrucker, c1610

Hanneke van Proosdij, baroque organ by Winold van der Putten, Finsterwolde,

Netherlands, 2004, after early 18th-century northern German instruments

Gabrielle Wunsch, baroque violin by Lorenzo Carcassi, Florence, Italy, 1765

#Handel #Countertenor