Vivica Genaux, Akademie für Alte Musik Berlin and René Jacobs - Arias for Farinelli (2003) [SACD]

If the only coloratura singing you know is the Queen of the Night’s arias, you need to hear “Qual guerriero in campo armato” (“Like an armed warrior on the battlefield”) from the early 18th century opera "Idaspe." Eight minutes of nearly continuous vocal leaps, twists, flutters, twirls and dives, this showpiece aria was written by Riccardo Broschi for his famous castrato brother Carlo Broschi, known to the world simply as Farinelli. It is scarcely believable that a human being can sing this at all, let alone master it as Farinelli did, and as the American mezzo-soprano Vivica Genaux does here. Although today male falsetto singers often sing the roles written for castrati, Jacobs argues in his excellent essay on the castrato legacy that a mezzo-soprano is the best choice for Farinelli’s roles, at least. Farinelli’s astounding range, for which these arias were specifically written, exceeds the potential of falsetto singing. Only a mezzo-soprano (and one of supreme talent, at that), has “the really sonorous low register that makes it possible to achieve clear and natural pronunciation… combined with high notes that must be gently placed, unforced, and capable of modulation.” Genaux’s performance spectacularly vindicates Jacobs’ judgement.

Most of the operas represented here have never been recorded. They are by forgotten composers inspired to write for a singular voice. The result of this inspiration was, as Jacobs describes, the development of the original bel canto style of singing. Although not all sheer acrobatics, this singing, like 19th century bel canto, can be exhausting to listen to for extended periods, and Jacobs wisely breaks up the program with a Galuppi concerto in C minor. This is very ably performed by the Akademie für Alte Musik Berlin, who elsewhere support Genaux with excellent tact and balance. The recital concludes with an amazing feat of stamina and control, the fourteen minute aria “Quell’ usignolo,” which repeatedly demands that the singer navigate unaccompanied through passages of daunting intricacy. Genaux remains in perfect form throughout, somehow making even the most ornate arias (and one recitative) seem like natural expressions of human emotion.