Divine Impresario: Nicolini on Stage
Randall Scotting, Mary Bevan
Laurence Cummings / Academy of Ancient Music
SIGCD986
While many readers will be familiar with the name Senesino, subject of American countertenor Randall Scotting's earlier album on Signum (Nov 2022), fewer will recognise the slightly older Nicolini (Nicolò Grimaldi 1673-1732) the first of the prominent castrati to reign on the London stage from 1708-1717 and who created the title role of Handel's Rinaldo in 1711. This may sound niche, but early 18th century operas are comfortable territory both vocally and musicologicaly for Scotting who has a PhD in historical research which mentioned that Senesino was oft compared to Nicolini both in vocal prowess and – less flatteringly – in physical stature.
[...]
I get the feeling that Scotting is really a stage-creature, when Mary Bevan joins him in N. Porpora's (1686-1768) Spiegami il tuo desio their energy is electric. But Scotting is best with Handel, his coloratura in Venti turbini is assured (after a dramatically ponderous first note) and there's a superb sense of dialogue with the bassoon and a sparkling violin line. His ornaments and cadenzas pleasingly avoid the obvious. But this is so much more than just another Handel-et-al countertenor recital, it's a delightful portal into a world of baroque wonderment and a musical project which delivers on every level.
To read the full text of this review please visit Gramophone.co.uk (April 2026)
Comments
Post a Comment