When the 18-year-old Georg Friedrich Handel arrived in Hamburg to immerse himself in the dazzling world of opera, he sat in the violin section as though he could not count to five, according to his friend Johann Mattheson. A year later, he presented his first stage work, and by the age of 21, he had already won the hearts of the Italians - a prodigy of boundless versatility to whom no task was too difficult. Even where the clergy prohibited opera performances, the "dear Saxon", as they called him, ignited dramatic sparks. The two cantatas - one about the sorceress Armida, abandoned by her beloved, and the other about Emperor Nero's mother, condemned to death - are intense monodramas that continue to spellbind audiences today, especially when staged by an artist like Amanda Forsythe. One is grateful for the instrumental interludes that provide moments of respite between these captivating "pocket operas".
Early opera underwent a strange development in the 17th century: under pressure from the paying public, comic elements increasingly overshadowed the fates of the great heroic figures it was supposed to be about. At some point, the brakes were applied and opera seria emerged, in which only noble characters acted. Slapsticks were isolated and played as interludes in front of the curtain for the audience's enjoyment. The two most famous of these intermezzi, Giovanni Battista Pergolesi's Serva padrona and Livietta e Tracollo, were recorded by the Boston Early Music Festival after several live performances in Bremen last fall - two caprices that were real "hits" even during the (very short) lifetime of their creator and still unfold their Neapolitan wit today: The story of the maid who cleverly conquers her master's heart and the turbulent "robber's tale" of the cunning peasant girl who puts the scoundrel on the right path to the marriage haven are available here in an irresistible double pack.
Billboard chart-topping and Grammy-winning Jeannette Sorrell, baroque orchestra Apollo’s Fire, soprano Amanda Forsythe and the music of J. S. Bach create a divine musical partnership. Heavenly Bach pairs two of the composer’s most popular cantatas, interspersed with two sublime arias from the St. John Passion. In Jauchzet Gott in allen Landen! (“Shout to joy for God in every land!), Forsythe’s dazzling virtuosity hits the high notes – she “sets arias on fire” according to BBC Music Magazine – whilst the secular “Wedding Cantata” exudes a joyous and evocative marriage in springtime, for a result that is heavenly indeed.
REVIEW:
Soprano Amanda Forsythe is among today’s most delightful vocalists and a fine, dedicated musician. Her sparkling Baroque performances with specialist groups and leading orchestras have brought contented smiles to many listeners. She has a bright, clean timbre that can execute rapid passagework and sustain long phrases with remarkable aplomb, and she never seems to stray from pitch. I have friends in Boston I can interest in attending a performance with the words, “Amanda Forsythe’s in it.” Here, she collaborates with another extraordinary artist, the conductor Jeannette Sorrell, who deployed the soprano in her 2021 New York Philharmonic debut, an arrestingly theatrical Messiah.
Sorrell’s Cleveland-based period instrument ensemble Apollo’s Fire, twenty-five in strength, here accompany Forsythe with delectable precision and tonal appeal in two of Bach’s most popular cantatas, plus two arias from the St. John Passion. The recordings, all technically first-rate, date from different sessions—the arias from 2016, the so-called Wedding Cantata from two years later and Jauchzet Gott in allen Landen! from 2021. Forsythe’s fresh-timbred singing proves a joy throughout.
In the Johannes-Passion, the contemplative “Zerfliese, mein Herz” finds the lamenting vocalist encircled by oboe and flute, a contrast in tone to “Ich folge dir gleichfalls,” with its delightful pair of flutes following the resolute if challenging soprano line. Forsythe and Sorrell’s instrumental soloists limn well the shifting moods of the five-aria Weichet Nur, Betrübte Schatten, a secular cantata evoking spring as well as Classical deities (Amor, Flora and Phoebus). Steven Marquardt is the excellent trumpeter in the bravura BWV 51, the title aria and famous concluding Alleluja movement, which Sorrell and Forsythe take at an enjoyably bracing clip. René Schiffer’s cello continuo aptly receives major billing in Avie’s helpful booklet.
-- Opera News
The first time I heard soprano Amanda Forsythe was on a CD of Handel arias. Searching for virtuosity, I found it and much more: a creamy, clear, lyric soprano, pinpoint coloratura, and enough color in the voice to delineate character and take me through adventures. The voice, the artistry remain the same on this new Bach recital, but the program feels less fulfilling.
Opening with Cantata No. 51, everyone’s madcap duel between soprano and trumpet at breakneck speed, you almost feel concern for articulation, pitch, and, well, everything but speed. But it’s a razzle-dazzle run-through, and it’s great fun. The Chorale “Sei Lob und Preis” disappoints somewhat; Forsythe and conductor Jeanette Sorrell seem to miss the strutting rhythm, but Forsythe’s middle octave, featured here, is as smooth as silk. The “Alleluia” made me want to dance.
I suspect no one’s favorite Bach cantata is No. 202, the so-called Wedding Cantata. The sweet text revolves around nature, then more nature, then flowers, then the sun, then Cupid on the prowl, and finally, good wishes to a couple. No religion, no depth, no tension, just plenty of room for Forsythe’s gorgeous middle voice, so smooth, so easily produced. And a fine oboe obbligato early on; later a nice cello, and a solo violin.
The two arias from the St. John Passion present two moods. “Zerfliesse, mein Herze”, featuring a combination of oboe da caccia and flute, with the voice used, often, as a third woodwind, is an emotional reaction to the death of Jesus: heartfelt and moving, with repeated notes signifying weeping. “Ich folge dir gleichfalls” finds the soprano following Jesus, with two lovely flutes as backup.
Jeannette Sorrell accompanies handsomely, only once or twice covering the voice. This is a release that will enchant, but at 49 minutes will also leave you hungry. Amanda Forsythe remains a star.
Rossini had a truly explosive effect when, at the age of eighteen, his comic one-act farce La cambiale di matrimonio was staged at the San Moisé theatre in Venice, on the evening of November 3rd, 1810. From that moment, Rossini’s career would be a series of masterpieces, with triumphs and flops. It was in the comic genre that he achieved his greatest successes, with works such as L’Italiana in Algeri (1813), Il Turco in Italia (1814), Il barbiere di Siviglia (1816), and Cenerentola in 1817, which was Rossini’s last great comic work in the traditional sense. Between 1817 and 1819, year of that Guillaume Tell that prematurely cut short his operatic career, Rossini composed fifteen serious operas and only three comic ones; but he had already given his best in his incomparable youth, with the four incredible masterpieces that are in this box set. In this release DYNAMIC assembles some of the most famous opera buffa by Rossini, played by great performers, conductors and directors, including some rarely performed works such La Gazzetta, L’Equivoco stravagante, La Cambiale di matrimonio.
Graun: Torna Vincitor / Forsythe, Contadin, Opera Prima Ensemble
CPO
CD
$18.99Jan 01, 2021
Of all the composers who wrote for the gamba during his times, Johann Gottlieb Graun must have been the most diligent one, even though he was not a virtuoso on this instrument. The twenty-seven works by him that are known to us represent significant contributions to the repertoire of the concerto, cantata, and sonata. All three of the works presented here contain grand solo parts for the viola da gamba that prove to be of the highest virtuosity. Graun evidently was interested in putting a virtuoso to the test. And the Italian gambist Cristiano Contadin, the founder of the Opera Prima ensemble, lives up to his reputation (as certified by the Musica magazine and other sources) as a first-class artist whose delightful delineation of tone and flawless style reveal a complete command of his instrument. The two sacred cantatas were composed in the Italian style on the basis of texts by Pietro Metastasio, the most famous librettist and poet of his times. They are sung by the American soprano Amanda Forsythe, who has won admiration especially for her interpretations of Baroque music – and is known from our cpo albums with the Boston Early Music Festival.
Handel: Almira / Mealy, Stubbs, Boston Early Music Festival
CPO
CD
$66.99Jan 03, 2020
Handel’s Almira with the BEMF. The Boston Early Music Festival has recorded George Frideric Handel’s very first opera, Almira, Queen of Castile, with a superlatively sumptuous ensemble. For its previous recordings of Baroque operas this successful ensemble has won prizes such as the Grammy, the German Record Critics Annual Prize, and the Echo Klassik. The Hungarian soprano Emoke Baráth sings the role of Almira with a choice ensemble of singers, all of whom have performed in the world’s most renowned concert halls and opera houses. Handel’s Almira is based on a freely invented plot featuring fine entertainment in the form of love and marriage schemes among the nobility, infidelity and mistaken identities, and a happy ending brought about by a court servant’s negotiations. This work was presented at the Hamburg Opera House in 1705 about twenty times and with great success. At the time Reinhard Keiser was the director of the Hamburg Opera, and he merits great praise for giving the young Handel, who then was earning his livelihood as a second tutti violinist in the orchestra pit, to compose and present an opera under his supervision. Handel’s Almira would as a work not be imaginable apart from the special circumstances prevailing at the Hamburg Opera: various styles and various languages are mixed, and it includes German and Italian arias, vocal dance numbers and da capo pieces, as well as instrumental ballet inserts of larger format. The result is indeed a colorful mixture, and the melodic signature so typical of Handel is already omnipresent and creates a fascinating unity – now heard with a top-quality ensemble!
The Power of Love: Arias from Handel Operas / Forsythe, Sorrell, Apollo's Fire
Avie Records
CD
$19.99Oct 01, 2015
One’s first impression of this CD, in an aria from Orlando comparing Love to the Wind, with its bouncy coloratura and light attitude, might mistakenly be that soprano Amanda Forsythe is “one of those coloratura songbirds,” albeit a very good one. This would be selling her short: yes, she’s most certainly a superb singer, with staggering agility and high notes perfect and free, but she uses every note in her well placed, many-hued voice. Sudden plunges into a not-quite chest voice on words like “dolor” (sadness) color and vary the experience of the aria.
And the next aria, “Geloso tormento” from Almira, with its obbligato oboe and aggressively unhappy strings, gives Forsythe even more emotional room: like any good “early music” soprano, she can sing without vibrato, but what she does with the first two words of the aria are special. The second syllable of “geloso” is attacked white and she sings a crescendo on it, adding vibrato; “tormento” finds a rolled “r” and a shudder on “men”. She embellishes freely and dramatically in the da capo section (here and in each other such aria).
It is a joy to hear a singer rethinking much of this familiar music without ever distorting it, such that the CD’s 55 minutes of singing (broken up with four expertly played orchestral excerpts from Terpsichore) truly impresses like a first hearing. And you never tire of Forsythe, as you might with other light-and-high-voiced singers. A bauble such as Atalanta’s flirtatious “Un cenno leggiadretto” from Serse has such character that it enchants anew. She has no fear of leaning on her voice but she never forces or makes an ugly sound; drama comes from inflection and diction.
Armida’s enraged recit “Dunque I lacci” and the anguished “Ah! crudel” that follows from Rinaldo are tragic in scope and sound, heavy with rage and sadness. The brief, insane B section that pops out of Armida’s deranged mind, “O infidel”, filled with tommy-gun coloratura, is a spectacular display, and Forsythe sadly lopes into the da capo with a voice filled with desolation. Morgana’s “Tornami a vagheggiar” from Alcina is sung for fireworks, and they light up the sky.
Jeanette Sorrell leads the period instruments of Apollo’s Fire devoid of any affectations, and the band plays smoothly and expertly. This is clearly Forsythe’s show and the orchestra and conductor offer great support. I could go on but find no need to; I hope you get my point. This is a knockout recital by a major American soprano.
Music Director Nicholas McGegan leads Philharmonia Baroque Orchestra and an acclaimed cast of soloists in this rarely performed masterpiece of Handelian opera. Writing of the live performance of the opera, the New York Times said, “Philharmonia Baroque Orchestra, led by Nicholas McGegan, gave a performance of Handel’s ‘Teseo’…that confirmed its leading position in the field.” The cast, led by the glowing soprano Dominique Labelle, as the witch Medea, and the outstanding lyric soprano Amanda Forsythe in the title role is buoyed by the “irrepressible positive energy” (New York Times) of the Orchestra under McGegan’s direction. The performances were recorded live at First Congregational Church, Berkeley, CA on April 13-14, 2013.
