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• Acclaimed soprano Carolyn Sampson, partnered by Robert King and The King’s Consort, with
whom she has been associated throughout her professional career, turns her talents to Handel’s
two most dramatic cantatas, linked by the theme of abandoned women.
• During his stay in Italy from 1706-10 the young Handel’s eyes and ears were opened wide.
Hearing Italian music played by Italian musicians in Italian palazzos, churches and theatres must
have been jaw-dropping. Nowhere are those influences more vividly demonstrated than in his
early Italian cantatas.
• In Armida abbandonata the heroine tries, and fails, to abandon the love that has abandoned
her. Storms, passion, monsters, yearning, heartache, anguish and finally resignation are all
portrayed in this strongest of cantatas. Even more powerful emotions are conjured up in
Agrippina condotta a morire. The mother of the crazed emperor Nero is ruthless, ambitious,
scheming, domineering, violent and beautiful. Realising that she has been betrayed by her own
son, her emotions swing through disbelief, injustice, fury, resentment, grief, betrayal, resilience,
pride, self-pity, humiliation, thwarted vengeance and finally come to resignation. Handel pushes
all the boundaries, showing techniques that were to be incorporated into his works for decades
to come in music of astonishing originality. Carolyn Sampson powerfully captures the drama in
full-blooded, committed performances.
• Recorded in world-class new recording venue, Alpheton New Maltings, demonstrating its
exceptional acoustic of striking clarity and warmth.
• Extensive presentation includes 60 page booklet with liner note in three languages by Dr Ruth
Smith, full texts and translations, and six pages of session photos.
• Video short documentary recorded at the sessions on YouTube channel ‘VivatMusicLive’ from
September 2018 and at www.vivatmusic.com