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Catone, HWVA7

composer
attributed to Handel who probably did little more than assemble the pieces from existing operas by other people; after Leonardo Leo's Catone in Utica
composer
author of text

 
Metastasio’s drama about the Roman patriot Cato’s preference to commit suicide rather than submit to the dictator Julius Caesar was first set to music by Vinci (Rome, 1728), but the poet’s own revised version was soon set to music by Leo (Venice, 1728). Handel might have seen Leo’s version whilst in Italy recruiting new singers, and its overture and nine arias were the basis of the pasticcio produced by Handel’s company in London; the rest of the arias were swapped for music by Hasse (six arias), Porpora (four), Vivaldi (at least two) and Vinci (one). It is unlikely Handel chose many (if any) of these substitutions—most were taken from the repertoire of the singers in his company.

from notes by David Vickers © 2018

Au début des années 1730, la principale basse soliste dans la troupe d’opéra de Haendel était Antonio Montagnana (célèbre entre 1730 et 1750). Quelques mois avant de créer le rôle de Zoroastro dans Orlando, Montagnana participa au pastiche Catone. Le drame de Métastase, sur le patriote romain Caton qui préfère se suicider que se soumettre au dictateur Jules César, fut mis en musique pour la première fois par Vinci (Rome, 1728), mais la propre version révisée du poète donna lieu bientôt à un opéra de Leo (Venise, 1728). Haendel vit peut-être la version de Leo lorsqu’il était en Italie pour recruter de nouveaux chanteurs, et son ouverture et neuf arias furent la base du pastiche produit par la troupe de Haendel à Londres; les autres arias furent remplacées par de la musique de Hasse (six arias), Porpora (quatre), Vivaldi (au moins deux) et Vinci (une). Il est peu probable que Haendel ait lui-même choisi l’essentiel (voire une seule) de ces substitutions—la plupart furent tirées du répertoire des chanteurs de sa troupe.

extrait des notes rédigées par David Vickers © 2018
Français: Marie-Stella Pâris

Recordings

Handel: Handel's Finest Arias for Base Voice, Vol. 2
Studio Master: CDA68152Studio Master FLAC & ALAC downloads available

Details

Act 3 Scene 4. Aria: È ver che all'amo intorno (Cesare)
Track 6 on CDA68152 [7'55]

Track-specific metadata for CDA68152 track 6

Act 3 Scene 4, Aria: È ver che all'amo intorno (Cesare)
Artists
ISRC
GB-AJY-18-15206
Duration
7'55
Recording date
28 February 2016
Recording venue
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Recording producer
Mark Brown
Recording engineer
Ben Connellan
Hyperion usage
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