giulio cesare - Naxos Music Library

comprimarii none at all. Henceforth, contrary to the Venetian operas, the importance of the vocal part
coincides with the dramatic pre-eminence of the character.
In accordance with the rules of the well-made entertainment, the number of arias diminishes as the
action gathers speed: from thirteen in Act I to twelve in Act II and eight in Act III. While most of them
adopt the tripartite da capo form (ABA), it will be noticed that these are predominantly assigned to
the young and irresolute Sesto and Cleopatra, whereas Cornelia, Cesare and Tolomeo, less prone to
effusiveness, have several ‘cavatinas’ (without reprise).
But these thirty-three arias are distinguished above all by their psychological acuity. It is rare for a
Baroque opera to espouse with such subtlety the evolution of a character like Cleopatra: presented in
the first act as a young woman thoroughly enamoured of herself (in the brilliant ‘Tu la mia stella’, one
of the rare numbers to have been borrowed from an early cantata) and practically begging for a good
spanking (the impertinent ‘Non disperar’), she plunges into despair in the following act, to sing one of
Handel’s most sublime lamenti, the hypnotic ‘Se pietà’, with its lugubrious bassoon countermelody –
though her grief is somewhat premature, since Cesare is still alive and at liberty! As a captive at the
start of Act III, she shows unexpected dignity in the famous ‘Piangerò’, a mystic farewell rather than a
lament, accompanied by a mournful flute, before giving way to almost hysterical joy in ‘Da tempeste’.
The wide psychological spectrum offered by this succession of emotional peaks constituted a truly
regal gift for their recipient, the capricious soprano Francesca Cuzzoni. A present that had to be
counterbalanced by one of similar magnitude for the prickly alto castrato Senesino, creator of the
title role, who was therefore allowed to range, with the same conviction, from martial ire (‘Empio
dirò tu sei’, ‘Al lampo dell’armi’) to amorous gallantry (‘Non è si vago’, ‘Se in fiorito ameno prato’
with solo violin), by way of incisive irony (the justly celebrated ‘Va tacito e nascosto’, set off by a
splendid obbligato horn). Hence each of the roles benefits from a rich palette of affects that continues
to spring surprises right to the end of the work: although Cornelia introduces herself with ‘Priva
son’, a deeply moving aria d’ombra (despite its key of D major), the rest of her role is distinguished
by her steadfastness, whereas Sesto, while mostly indulging in furious protestations of vengeance,
nonetheless falls into a trance for an aria of sublime sobriety (‘Cara speme’). Tolomeo and Achilla
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