Francesco Borosini News
Italian opera singer
- tenor
- opera singer
Last update
2024-03-24
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2021-05-19 08:28:08
Making goodness interesting: a new recording of Handel's Rodelinda from the English Concert with Lucy Crowe, Iestyn Davies and Joshua Ellicott
[…] 65minutes) which, whilst not approaching Giulio Cesare, is certainly more suitable to home listening than the modern opera house. Handel and Haym's changes mean that the title role is most definitely the prominent one, but a point worth making is that after Rodelinda, Bertarido and Grimoaldo have the same number of arias (though Bertarido also has a duet with his wife and an accompanied recitative). Grimoaldo is an unusually prominent tenor role, written for Francesco Borosini who had created the role of Bajazet in Handel's Tamerlano the previous year. It is a similarly complex role and makes the opera unusually intriguing to modern audiences. Lucy Crowe stakes her claim on the role of Rodelinda from the first moments of her opening scene. Crowe is wonderfully plangent, and throughout the opera, she manages to make Rodelinda's nobility and firmness of purpose expressively interesting. Crowe is fast, fluent and emotive in the […]
2021-04-12 08:40:08
Towards Perfection: the idea of an ideal version of an opera has not always played out in history, with composers being surprisingly willing to rewrite works to suit circumstances
[…] result is that we tend to ignore Handel's revisions, even when they are interesting. Handel: Giulio Cesare - Catherine Hopper (Cornelia), Heather Lowe (Sesto) - Opera North 2019 (Photo Alastair Muir) Handel's Giulio Cesare premiered in 1724, with the role of Sesto played by a soprano en travestie (Margherita Durastanti), but when Handel revived the work a year later he needed to find a role for the major Italian tenor Francesco Borosini (who would create the role of Bajazet in Tamerlano for Handel that same year) and so Handel made significant alterations to the role of Sesto, retaining one aria unchanged, altering another and providing three new tenor arias. Borosini would sing in 10 performances of the opera, and Handel's revivals in 1730 and 1732 would both use a tenor for Sesto so that in terms of primacy in the historical record the tenor version wins. […]
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