We often talk about Handel and his castrati, quite legitimately because Carestini, Caffarelli or Senesino were entrusted with unforgettable pages. But the female voices were not left out and the composer delivered no less sublime tunes for these ladies. Through the strength of her incarnations, Emőke Baráth proves herself a worthy heiress. But, strong in the very wide range of her voice and a bewitching beauty of timbre, she thus pays homage to the great sopranos for whom Handel had an unbounded love: Francesca Cuzzoni who created the roles of Cleopatra in Giulio Cesare or Rodelinda, without forgetting Anna Maria Strada del Pò who played Adelaide in Lotario and, above all, Alcina.
If there is an artist who knows his Handel, it is Philippe Jaroussky. If his vocal means place him in the firmament of lyrical singing, the illustrious French counter-tenor begins a parallel career as a conductor which promises to be just as intense. At the head of his Artaserse ensemble, Philippe Jaroussky will know how to weave an ideal setting for an accomplice with whom he has shared many scenes.