Angelica diabolica Giulia Semenzato & Kammerorchester Basel

• Luigi Rossi (1597 - 1653): Il Palazzo incantato:
• 1 Rossi: Il Palazzo incantato: Si tocchi tamburo 03:23
• 2 Rossi: Il Palazzo incantato: Sol per breve momento 03:41
• Nicola Porpora (1686 - 1768): L'Angelica:
• 3 Porpora: L'Angelica: Mentre rendo a te la vita 05:22
• 4 Porpora: L'Angelica: Costante e fedele 03:26
• Bernardo Sabadini (1650 - 1718): Angelica nel Catai:
• 5 Sabadini: Angelica nel Catai: Mi vedrà più fiera in campo 03:10
• Agostino Steffani (1654 - 1728): Orlando generoso:
• 6 Steffani: Orlando generoso: Se t’eclissi o bella face 07:05
• George Frideric Handel (1685 - 1759): Orlando, HWV 31:
• 7 Handel: Orlando, HWV 31: Non potrà dirmi ingrata, nò, perchè restai piagata 04:00
• Carlo Francesco Pollarolo (1653 - 1723): Ariodante:
• 8 Pollarolo: Ariodante: Quella man che mi condanna 05:03
• George Frideric Handel: Ariodante, HWV 33:
• 9 Handel: Ariodante, HWV 33: Volate, amori 04:08
• Alcina, HWV 34:
• 10 Handel: Alcina, HWV 34: Mi restano le lagrime 06:22
• Amadigi di Gaula, HWV 11:
• 11 Handel: Amadigi di Gaula, HWV 11: Desterò dall’empia Dite 05:52
• Total Runtime 51:32

Info for Angelica diabolica

Giulia Semenzato, already renowned for her interpretations of the Baroque repertory and her Mozartian roles, presents here her first solo album. The programme, entitled Angelica diabolica , is devoted to the female protagonists of Ludovico Ariosto, author of the epic poem Orlando furioso , whose emblematic figure is Angelica, a revolutionary heroine, ready to resort to any trick in order to regain her freedom. After the Baroque Rome of Luigi Rossi and his opera Il palazzo incantato (1642), we turn to the galant style of Naples with Nicola Porpora’s serenata Angelica (1720), then to Milan in 1702 with the warlike heroine of Bernardo Sabadini’s opera Angelica nel Catai , before a more melancholy take on the character by Agostino Steffani (1691). These rare numbers rub shoulders with more familiar arias by Georg Friedrich Handel, sung by the heroines of his operas Orlando, Ariodante, Amadigi di Gaula, not to mention the famous enchantress Alcina. Alongside the Kammerorchester Basel, Giulia Semenzato deploys all her virtuosity, vocal agility and feeling for words to slip into the shoes of these women, by turns angelic and diabolical.

Giulia Semenzato, Sopran
Kammerorchester Basel

Giulia Semenzato
has a Bachelor’s degree in Law from the University of Udine and studied singing at the Benedetto Marcello Conservatory in Venice with Silvia da Ros, Giancarlo Pasquetto and Silva Stella. She then graduated with honours from the Schola Cantorum in Basel where she specialized in Baroque music with Rosa Dominguez. She took part in the Academy of the Aix-en-Provence Festival.

Winner of the International Competition Toti dal Monte in Treviso with the role of Elisetta in Cimarosa’s Il Matrimonio segreto, Giulia made her debuts at the Teatro di Treviso, Teatro di Ferrara, Teatro di Rovigo and in Lucca and Ravenna. She also was a prize winner of the Cesti Singing Competition in Innsbruck and was awarded the “Premio Farinelli” for the best singer at the Concorso Lirico Città di Bologna.

Quickly recognised as a young rising talent, Giulia Semenzato was Celia in Lucio Silla at the Teatro alla Scala where she began a collaboration with Marc Minkowski. Recently she returned twice to La Scala to sing Nannetta in Falstaff with Zubin Metha and Zerlina in Don Giovanni with Paavo Jarvi. Shortly after, Mr. Metha re-invited her to appear in Falstaff in Beijing.

Giulia has performed numerous opera roles among which: Sandrina in Piccinni’s La Cecchina, Maria in Nino Rota’s I due timidi (both at the Teatro Malibran in Venice), the title roles in Cavalli’s Eritrea under Stefano Montanari at La Fenice and in Elena with the Cappella Mediterranea conducted by Leonardo García Alarcón at the Aix-en-Provence Festival.

Other highlights include: Despina in Cosi fan tutte (Florence Opera), Venere/Proserpina in Orfeo by Rossi with Raphaël Pichon (Nancy, Bordeaux, Versailles), Carolina in Cimarosa’s Il Matrimonio segreto (Innsbruck), Conti’s Don Chisciotte in Sierra Morena with René Jacobs (Paris Philharmonie, Theater an der Wien, Cologne Philharmonie).

Her repertoire also embraces sacred music: Gloria by Vivaldi along with Sara Mingardo, Morte e sepoltura di Cristo by Caldara, Mozart’s Exultate Jubilate with Minkowski and the Coronation Mass with Fabio Biondi, Stradella’s rediscovered Cantatas with René Jacobs (Fondazione Cini in Venice) and Abra in Vivaldi’s Juditha Triumphans with Alessandro De Marchi (La Fenice). She sang Handel’s Messiah, Pergolesi’s Stabat Mater and Mozart’s Requiem accompanied by La Barocca under the baton of Ruben Jais.

Recent and future engagements include Almirena in Rinaldo at the Glyndebourne Festival; Mozart’s La Finta giardiniera at La Scala; Stradella’s San Giovanni Battista at the Salzburg Festival; Despina in Così fan tutte with Marc Minkowski at the Drottningholm Opera Festival; Michal in Saul at the Theater an der Wien; Venus/Cinzia in Ercole amante at the Opéra Comique in Paris with Raphaël Pichon; Dorinda in Orlando at the Theater an der Wien…

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