Aria

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Porpora: Perchè ad amarmi
Forces: tenor, strings & continuo

From Act I scene vi of Flavio Anicio Olibrio this is Ricimero's aria about resoluteness in fighting for love

Editor: James Sanderson

Aria from Flavio Anicio Olibrio
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Porpora: Sarebbe nell'amar soave il sospirar
Forces: soprano, strings & continuo

Farinelli's second aria from one of his first appearances (Rome 1721) in Gli Orti Esperidi. In the rôle of Adonis, Farinelli sings of the power of love to hold him to his beloved despite the horrors of Tartarus.

Editor: James Sanderson

Aria from Gli Orti Esperidi
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Porpora: Se il morir, fosse mia pena
Forces: soprano, strings & continuo

The first aria from one of Farinelli's forst appearances (Rome 1721). In the rôle of Adonis, Farinelli sings of his willingness to give up his life for love of Venus.

A beautiful aria with primarily violin bass rather than continuo.

Editor: James Sanderson

Aria from Gli Orti Esperidi
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Porpora: Se pietoso il tuo labro
Forces: soprano, strings & continuo

Source: BL Add MS 31593 ff 30r - 33v

A deceptively virtuosic aria with exciting rhythmic and melodic interest and occasionally bizarre harmonies. If your lips would have pity upon me... From Ezio (1728).

Editor: James Sanderson

Aria from Ezio
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Porpora: Se son lontano dal mio diletto
Forces: soprano, strings & continuo

Adone (Farinelli)'s second aria from Act II of Porpora's Gli orti Esperidi. A charming allegro with a 'pathetic' twist, once again principally accompanied by the upper strings - perhaps a gesture to the young Farinelli's age (16 at the time). Adone sings of the fear which enters his heart in the absence of his beloved.

Editor: James Sanderson

Aria from Gli Orti Esperidi
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Porpora: Senti il fato
Forces: soprano, strings & continuo

Source: Polifemo Act III, scene v

Acis' (Farinelli's) last aria. In the true bravura style which made both singer and composer famous this aria is extraordinary! Everything from fiendish coloratura to leaps of a 10th, 11th and 12th. Masterful writing. The aria is preceded by a secco recitative and has a slower, though even more virtuosic, middle section.

Editor: James Sanderson

Aria from Polifemo Act III, v
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Porpora: Son frà l'onde in mezzo al mare
Forces: soprano, strings & continuo

Venere's aria from the end of act I uses all the illusions of the crashing waves upon the shore, convincing her lover, Adone, to remain with her. Written for the great Marianna Bulgarelli (La Romanina: 1684 - 1734) it is a wonderfully 'splashy' coloratura aria.

Editor: James Sanderson

Aria from Gli Orti Esperidi
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Porpora: Vaghi amori
Forces: soprano, strings & continuo

Imeneo's opening aria from 'La Festa d'Imeneo' Written for Farinelli in 1736 as part of a Serenata composed for the wedding of the Prince of Wales, this is a virtuosic piece with a great deal of room for embellishment.

Editor: James Sanderson

Aria from La Festa d'Imeneo
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Vinci: Fiumicel, che s'ode appena
Forces: soprano, oboe, strings & continuo

One of the stunning arias in Semiramide (1729) written for the soprano castrato Carlo Scalzi. A classic 'Little brooks and little breezes' aria with some virtuosic requirements for the singer. Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli; Segnatura: 32.4.11

Editor: James Sanderson

Aria from Semiramide
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Vinci: Incerto dubbioso mio vago tesoro
Forces: alto, strings & continuo

From Il Medo (Parma 1728), an opera which starred Farinelli, this is a delightful aria for alto and strings. "Uncertain and doubting...I go without fear to fight the barbarous Gods and Heaven itself.

Source: Münster Santini Sammlung HS 2462

Range: b - e'

Editor: James Sanderson

Aria from Il Medo
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Vinci: Innamorata dolce mia fiamma
Forces: soprano, strings & continuo

Love and the pain of love burn strong in this virtuosic aria written for Farinelli in Il Medo (Parma, 1728).

Source: Münster Santini Sammlung HS 4262
Range: d - b''
Editor: James Sanderson
Aria from Il Medo
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Vinci: Navigante che non spera
Forces: soprano, strings & continuo

The image of the sailor returning to the shore characterises this virtuosic aria written for Farinelli in Il Medo (Parma, 1728).

Source: Münster Santini Sammlung HS 4262

Range: c - b flat''

Editor: James Sanderson

Aria from Il Medo
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Vinci: Non è più folle lusinga
Forces: soprano, strings & continuo

A beautiful aria from Il Medo (Parma, 1728). Rejecting the adoration of the crowds, the singer relies on the affections of his beloved.

Source: Münster Santini Sammlung Hs 4262

Editor: James Sanderson

Aria from Il Medo
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Vinci: Scherzo dell'onda instabile
Forces: soprano, strings & continuo

The strong image of waves playing on the beach in this virtuosic aria written for Farinelli from Il Medo (Parma, 1728).

Source: Münster Santini Sammlung HS 4262

Range: c - b flat''

Editor: James Sanderson

Aria from Il Medo
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Vinci: Vol solcando un mar crudele
Forces: soprano, 2 horns, strings and continuo

Arbace 's aria in scene xv of Act I of Vinci's opera Artaserse (Rome 1730). Classic simile aria with real coloratura requirements for the singer. Excellent accompagnato recit. to begin the scene as well.

Editor: James Sanderson

Aria from Artaserse
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