℗ 2012 Hyperion Records Limited
| Released | July 28, 2023 |
| Originated | May 25, 2012 |
| Duration | 1h 17m 52s |
| Record Label | Hyperion |
| Genre | Classical |
Arias for Guadagni: The First Modern Castrato
Iestyn Davies, Arcangelo, Jonathan Cohen
Available in 88.2 kHz / 24-bit AIFF, FLAC high resolution audio formats
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Saul, HWV 53, Act I
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1.1
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No. 32, Aria. O Lord, Whose Mercies Numberless (David)
George Frideric Handel; Charles Jennens; Arcangelo; Jonathan Cohen; Iestyn Davies |
5:28 | |||
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Theodora, HWV 68, Act I
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1.2
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No. 9, Aria. The Raptur'd Soul (Didymus)
Thomas Morell; George Frideric Handel; Iestyn Davies; Arcangelo; Jonathan Cohen |
8:19 | |||
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The Choice of Hercules, HWV 69
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1.3
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No. 15, Air. Yet, Can I Hear That Dulcet Lay (Hercules)
Thomas Morell; Robert Lowth; George Frideric Handel; Arcangelo; Iestyn Davies; Jonathan Cohen |
4:06 | |||
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Belshazzar, HWV 61, Act III
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1.4
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Aria. Destructive War, Thy Limits Know (Cyrus)
George Frideric Handel; Charles Jennens; Jonathan Cohen; Arcangelo; Iestyn Davies |
2:16 | |||
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Didone abbandonata, Act I
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1.5
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No. 19a, Accompagnato. Ah che dissi! (Enea)
Pietro Metastasio; Johann Adolf Hasse; Jonathan Cohen; Iestyn Davies; Arcangelo |
1:26 | |||
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1.6
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No. 19b, Aria. Se resto sul lido (Enea)
Pietro Metastasio; Johann Adolf Hasse; Jonathan Cohen; Arcangelo; Iestyn Davies |
5:35 | |||
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Didone abbandonata, Act III
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1.7
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No. 8a, Fanfare & Recit. Odi colà la frigia tromba? (Enea)
Pietro Metastasio; Johann Adolf Hasse; Iestyn Davies; Arcangelo; Jonathan Cohen |
0:29 | |||
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1.8
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No. 8b, Aria. A trionfar mi chiama (Enea)
Pietro Metastasio; Johann Adolf Hasse; Jonathan Cohen; Arcangelo; Iestyn Davies |
6:36 | |||
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The Fairies
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1.9
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Air. Say, Lovely Dream!
John Christopher Smith; Edmund Waller; Jonathan Cohen; Iestyn Davies; Arcangelo |
5:42 | |||
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Alfred, Act II
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1.10
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Aria. Vengeance, O Come Inspire Me!
Thomas Arne; James Thomson; David Mallet; Iestyn Davies; Jonathan Cohen; Arcangelo |
6:52 | |||
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Sinfonia in D Major, H. 663
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1.11
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I. Allegro di molto
Carl Philipp Emanuel Bach; Jonathan Cohen; Arcangelo |
5:53 | |||
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1.12
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II. Largo
Carl Philipp Emanuel Bach; Jonathan Cohen; Arcangelo |
1:50 | |||
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1.13
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III. Presto
Carl Philipp Emanuel Bach; Arcangelo; Jonathan Cohen |
2:32 | |||
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Telemaco, Wq. 34, Act II
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1.14
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Aria. Ah! non turbi il mio riposo (Telemaco)
Marco Coltellini; Christoph Willibald Gluck; Jonathan Cohen; Iestyn Davies; Arcangelo |
3:40 | |||
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Orfeo ed Euridice, Wq. 30, Act II
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1.15
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Ballo. Dance of the Blessed Spirits
Ranieri de' Calzabigi; Christoph Willibald Gluck; Arcangelo; Jonathan Cohen |
2:18 | |||
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1.16
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Arioso. Che puro ciel! (Orfeo)
Ranieri de' Calzabigi; Christoph Willibald Gluck; Jonathan Cohen; Arcangelo; Iestyn Davies |
5:50 | |||
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Orfeo ed Euridice, Wq. 30, Act III
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1.17
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Recit. Ahimè! Dove trascorsi? (Orfeo)
Ranieri de' Calzabigi; Christoph Willibald Gluck; Arcangelo; Jonathan Cohen; Iestyn Davies |
1:14 | |||
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1.18
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Aria. Che farò senza Euridice? (Orfeo)
Ranieri de' Calzabigi; Christoph Willibald Gluck; Jonathan Cohen; Iestyn Davies; Arcangelo |
3:48 | |||
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1.19
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Aria. Pensa a serbarmi, o cara
Pietro Metastasio; Gaetano Guadagni; Iestyn Davies; Arcangelo; Jonathan Cohen |
3:58 | |||
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Digital Booklet
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"Through his effortless line, countertenor Iestyn Davies revivifies Guadagni's Orphic powers. He is particularly breathtaking in works by Handel, Arne and John C Smith, all of which were designed to show off the castrato's pellucid timbre … a refreshingly ambitious and superbly realised recording."
- BBC Music Magazine
British countertenor Iestyn Davies is one of the fastest rising stars on the concert and opera circuit. Following his highly acclaimed recording of Porpora cantatas, he returns for a second solo album with Hyperion, a selection of arias written for Gaetano Guadagni. Italian-born Guadagni was the first ‘modern’ castrato, famed all over Europe for the lyric purity of his voice and his powerful, naturalistic acting style. Not only did he enjoy a close artistic relationship with Handel, who nurtured Guadagni’s voice to fit the alto roles in his English oratorios, but he effectively created the role of Orpheus in Gluck’s Orfeo ed Euridice, an opera he thoroughly made his own. Here, Iestyn Davies is joined again by the renowned period-instrument band Arcangelo, directed by Jonathan Cohen.
88.2 kHz / 24-bit PCM – Hyperion Studio Masters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -3.53 -12.78 to -0.36 | -24.90 -31.13 to -21.49 | -21.32 -28.00 to -18.10 | 13 10 to 15 | |
| 1 | No. 32, Aria. O Lord, Whose Mercies Numberless (David) | -5.27 | -27.90 | -23.4 | 15 |
| 2 | No. 9, Aria. The Raptur'd Soul (Didymus) | -2.48 | -25.17 | -21.9 | 15 |
| 3 | No. 15, Air. Yet, Can I Hear That Dulcet Lay (Hercules) | -3.19 | -25.95 | -23.0 | 15 |
| 4 | Aria. Destructive War, Thy Limits Know (Cyrus) | -1.09 | -21.49 | -18.1 | 13 |
| 5 | No. 19a, Accompagnato. Ah che dissi! (Enea) | -0.36 | -23.84 | -20.2 | 13 |
| 6 | No. 19b, Aria. Se resto sul lido (Enea) | -1.72 | -23.41 | -19.7 | 14 |
| 7 | No. 8a, Fanfare & Recit. Odi colà la frigia tromba? (Enea) | -2.80 | -21.54 | -18.1 | 12 |
| 8 | No. 8b, Aria. A trionfar mi chiama (Enea) | -1.55 | -22.48 | -19.4 | 14 |
| 9 | Air. Say, Lovely Dream! | -3.96 | -25.05 | -21.5 | 13 |
| 10 | Aria. Vengeance, O Come Inspire Me! | -1.69 | -23.97 | -20.5 | 15 |
| 11 | I. Allegro di molto | -3.00 | -25.14 | -21.0 | 13 |
| 12 | II. Largo | -11.85 | -31.13 | -28.0 | 12 |
| 13 | III. Presto | -1.78 | -25.22 | -21.2 | 14 |
| 14 | Aria. Ah! non turbi il mio riposo (Telemaco) | -2.55 | -23.47 | -19.5 | 12 |
| 15 | Ballo. Dance of the Blessed Spirits | -12.78 | -30.15 | -27.3 | 10 |
| 16 | Arioso. Che puro ciel! (Orfeo) | -2.19 | -25.49 | -22.2 | 14 |
| 17 | Recit. Ahimè! Dove trascorsi? (Orfeo) | -4.26 | -24.13 | -20.7 | 12 |
| 18 | Aria. Che farò senza Euridice? (Orfeo) | -2.42 | -23.37 | -18.8 | 12 |
| 19 | Aria. Pensa a serbarmi, o cara | -2.15 | -24.24 | -20.6 | 14 |