Interview chantée d'Emőke Baráth
Tout en confidences, la soprano hongroise Emőke Baráth livre quelques secrets dans cette interview musicale. Vocalises, airs préférés, rêves d’autres tessitures…
The deep beauty of Emőke Baráth's singing guided by her partner Philippe Jaroussky.
Haendel Radamisto, HWV 12, Overture
« L’aura che spira » aria from Giulio Cesare
« Ombra cara » aria from Radamisto
Concerto grosso in D minor, HWV 316
« Qual nave smarrita… » aria from Radamisto
« Ai greci questa spada » aria from Deidamia
« Io t’abbracio » duet from Rodelinda
Concerto grosso op.6 n° 12, 1st movement
« Ah, Ruggiero crudel! Ombre pallide » aria from Alcina
Concerto grosso op.3 n° 2, 1st & 2st movements
« Se pietà di me non senti » aria from Giulio Cesare
Concerto grosso op.6 n°4, 1est movement
« Scherza in mar la navicella » aria from Lotario
« Caro, bella » duet from Giulio Cesare
We often speak of Handel and his castrati, quite legitimately because Carestini, Caffarelli and Senesino were entrusted with unforgettable pieces. However, the female voices were not left out and the composer delivered arias for these ladies that were no less sublime. Emőke Baráth is a worthy heir to this tradition with the strength of her performances. Nevertheless, with the wide range of her voice and a bewitching beauty of tone, she pays tribute to the great sopranos for whom Handel had an unbounded love: Francesca Cuzzoni who created the roles of Cleopatra in Giulio Cesare or Rodelinda, not forgetting Anna Maria Strada del Pò who played Adelaide in Lotario and, above all, Alcina.
If there is one artist who knows his Handel, it is Philippe Jaroussky. If his vocal abilities place him in the firmament of opera singing, the illustrious French countertenor is at the same time embarking on a career as a conductor that promises to be just as intense. At the head of his ensemble Artaserse, Philippe Jaroussky will be able to weave an ideal setting for an accomplice with whom he has shared many stages.
PRODUCTION Les Grandes Voix