Over het album

The legacy of the celebrity castrato Senesino has endured for centuries. He is known to us today primarily as Handel’s leading man for 13 seasons in London, and he was recognised the world over for his moving dramatic interpretations, fiery singing, and singular, over-the-top divo personality. Yet, Handel’s music for Senesino only shows us a fraction of the numerous virtuosic roles written for the castrato. Here, for the first time, are arias by seven overlooked composers who also wrote showpieces for the (in)famous Senesino. All but one of the arias on this album are modern-day premieres and heard together, they illuminate the talents of an 18th-century operatic icon. Each of the composers on this album was a genuine musical talent, greatly admired for the refinement and skill of their compositions, but they are almost entirely forgotten today. What a fascinating bunch! One was a part-time spy for the future King of France, another a workaholic recluse, one was accused of plagiarism and banished from London entirely, and another worked a side-gig composing music for Italian comedians. I can think of no better group of colleagues than Laurence Cummings and the Orchestra of the Age of Enlightenment with which to perform this music after it has spent nearly 300 years in the shadows. I am filled with gratitude for their deeply moving and committed contribution to this project which is the culmination of seven years of research and work. Why ‘The Crown’, you may wonder? Nearly every aria on this album was composed for a regal character: impassioned kings, noble heroes on the battlefield, royal lovers, and renowned conquerors. These were the roles that Senesino loved to portray on stage, perceiving a reflection of himself in their valiant power. The impression that remains after hearing this array of remarkable music is that Senesino was a truly robust and versatile singer whose abilities and range far exceeded what we have known... until now.