Handel's Italians

Handel's Italians: Italian Castrati in the London Oratorios
HMM902795 - Le Concert d'Astrée, Emmanuelle Haïm, Carlo Vistoli, Giulia Semenzato


An essay-pamphlet of 1732 (See and Seem Blind, perhaps written by the theatrical impresario Aaron Hill; collaborator for Handel's Rinaldo back in 1711) captures the moment when the oratorio Esther was considered 'a new Thing' which 'set the whole World a Madding'. New it may have been, but the writer would have preferred to hear the Italians Senesino and Bertolli singing in their native tongue. This new release revisits that rich historical moment by selecting from Handel’s dramatic oratorios in London as sung in English or Italian by his Italian virtuosi.

Beginning with the overture from Concerto Grosso Op6. No 10 HWV328 - which functions here as a French-style overture, superstar countertenor Carlo Vistoli opens with How can I stay when Love invites (Esther, 1732 version). Luigi Sebastiani's superb booklet note reminds me that back in the day the diction of superstar castrato, Senesino left much to be desired, and on the line ‘I come my Queen, to chaste delights’ some thought they heard ‘I comb my Queen to chase the lice’. * Happily there is no such problem today since Vistoli's English is as clear as his voice is nimble. In the Act II duet between Queen Esther and King Ahasuerus which marks the both the dramatic turning point and moment of romantic revelation, Vistoli is joined by soprano Giulia Semenzato, well matched and equally clear they find a compelling, intimate atmosphere underpinned by the flushed heartbeats of the orchestra. In true Handelian style the programme then moves to one of Senesino's contrasting, rumbustious arias from Deborah (1733 version) I go where Heav’n and Duty call in which Vistoli dazzles with surefooted coloratura over an impressively tight orchestral ensemble, fully anchored in the bass. I have a slight dislike for the glottal on the final iteration of 'I'll rush on the foe' but it's a fleeting moment.

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To read the full text of this review please visit Gramophone.co.uk (Oct 2026)

*since writing this review it has come to my attention that the quote about lice is misattributed to Senesino and is actually associated with a different castrato performing in the 1770s. Many thanks to David Vickers for this information. You can read more in this essay: Handel’s Bilingual Versions of Esther and Deborah, 1734-1737, David Vickers in New Perspectives on Handel’s Music Essays in Honour of Donald Burrows. 
Edited by David Vickers. Boydell Press, October 2022.