Nathalie Stutzmann, Orfeo 55 Handel: Rinaldo, HWV 7b, Act II: Mio cor, che mi sai dir

Contralto by Nathalie Stutzmann pays homage to the deepvoiced female singers of the Baroque, often overshadowed by their castrato peers. Discover the album: We must remember that the opera composers of the early 18th century saw the female contralto and the male castrato as vocally interchangeable, she points out, and that the voice most closely resembling a castrato is not the countertenor produced using a falsetto technique but the contralto, which is a natural In this program of Handel, Vivaldi, Porpora more, she sings and conducts Orfeo 55, the instrumental ensemble she founded in 2009.