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Handel: Il pastor fido, HWV8a

Lucy Crowe (Amarilli), Anna Dennis (Mirtillo), Katherine Manley (Eurilla), Madeleine Shaw (Dorinda), Clint van der Linde (Silvio) & Lisandro Abadie (Tirenio)

La Nuova Musica, David Bates

Handel: Il pastor fido, HWV8a
Bates makes no attempt to address Il pastor fido's dramatic shortcomings in La Nuova Musica's world premiere recording. His love of Handel's instrumental textures is apparent...In Dennis, we...

Handel: Il pastor fido, HWV8a

Lucy Crowe (Amarilli), Anna Dennis (Mirtillo), Katherine Manley (Eurilla), Madeleine Shaw (Dorinda), Clint van der Linde (Silvio) & Lisandro Abadie (Tirenio)

La Nuova Musica, David Bates

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This release includes a digital booklet

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Bates makes no attempt to address Il pastor fido's dramatic shortcomings in La Nuova Musica's world premiere recording. His love of Handel's instrumental textures is apparent...In Dennis, we...

About

For its harmonia mundi début, the London-based La Nuova Musica, led by David Bates, presents a true rarity: the original 1712 version of Handel's opera 'Il pastor fido' (The Faithful Shepherd) featuring Lucy Crowe, Anna Dennis, Katherine Manley, Madeleine Shaw and Clint van der Linde.

'Il pastor fido' was first performed at the Queen’s Theatre on 22 November 1712, but achieved only seven performances throughout the season. One unimpressed eyewitness complained in his diary ‘The Scene represented only ye Country of Arcadia. ye Habits were old – ye Opera Short.’

Handel’s distinctive original version of his Arcadian opera was not heard again until its first modern revival at Abingdon in 1971; more than 40 years on, this performance by La Nuova Musica is its first recording.

La Nuova Musica is a vocal and instrumental ensemble dedicated to the music of the European Renaissance and Baroque. In less than five years since its foundation by counter-tenor David Bates, it has shot to prominence in the UK and abroad, establishing itself amongst critics and audiences as both a fixture and a breath of fresh air. Across a steadily developing repertoire, La Nuova Musica performances are characterised by vividness and ardour. The Times wrote of its 2009 performance of Handel’s 'Acis and Galatea' at the London Handel Festival: “[Bates] breathed life, meaning and shape into every phrase. His speeds were properly brisk and his little band responded with playing of robust vigour.”

At the 2009 Aldeburgh Easter Festival, the group’s interpretation of Schütz’s 'Musikalische Exequien' proved, in the words of the Eastern Daily Press, “to be one of the sensations of the weekend…effortlessly sung.” Audiences were thrilled by La Nuova Musica’s recent account of Monteverdi’s Seventh Book of Madrigals at the Spitalfields Winter Festival: “extrovert, free-spirited and alive to every sob, sigh and smile” The Times. In 2012, LNM embarks on an exciting new relationship with Kings Place, curating the winter concert season around its own performance of Monteverdi’s 'Orfeo'. A recital with renowned countertenor Robin Blaze and a performance of Bach’s 'Christmas Oratorio' follow in 2013. In March, 2012 they will give concert performances of Handel’s 'Il pastor fido', featuring Lucy Crowe, Katherine Manley and Clint van der Linde, including on 13th April, the London Handel Festival.

This recording marks the group’s harmonia mundi début. Future projects will include Vivaldi Dixit Dominus RV807, Vivaldi In furore Iustissimae RV626 and Handel Dixit Dominus HWV232.

Contents and tracklist

I. Ouverture (i)
Track length4:39
II. Ouverture (ii)
Track length5:08
III. Ouverture (iii)
Track length2:18
IV. Ouverture (iv)
Track length2:23
V. Ouverture (v)
Track length4:20
VI. Ouverture (vi)
Track length3:21
VII. Act I, Scene i, Aria "Fato crudo, Amor severo" (Mirtillo)
Track length5:09
VIII. Act I, Scene i, Recit. "Ah! nò, sia pur pietosa" (Mirtillo)
Track length0:50
IX. Act I, Scene i, Aria "Augelletti, ruscelletti" (Mirtillo)
Track length2:42
X. Act I, Scene ii, Recit. "Ah! infelice mia patria" (Amarilli)
Track length1:00
XI. Act I, Scene iii, Recit. "Son di Mirtillo!" (Mirtillo, Amarilli)
Track length1:10
XII. Act I, Scene iii, Aria "Son come navicella" (Amarilli)
Track length3:50
XIII. Act I, Scene iv, Recit. "Come viver poss'io" (Mirtillo)
Track length0:34
XIV. Act I, Scene v, Recit. "Ferma, Mirtillo!" (Mirtillo, Eurilla)
Track length1:15
XV. Act I, Scene v, Aria "Lontan del mio tesoro" (Mirtillo)
Track length7:06
XVI. Act I, Scene vi, Recit. "Ah! che sperar mi resta" (Eurilla)
Track length0:37
XVII. Act I, Scene vi, Aria "Di goder il bel ch'adoro" (Eurilla)
Track length4:24
XVIII. Act I, Scene vii, Aria "Casta Dea, a te divoto" (Silvio)
Track length3:34
XIX. Act I, Scene vii-a, Recit. "Tu sola, oh bella Diva" (Silvio, Dorinda)
Track length1:26
XX. Act I, Scene vii-a, Aria "Mi lasci, mi fuggi" (Dorinda)
Track length6:41
XXI. Act I, Scene viii, Recit. "Cintia, mia casta Dea" (Silvio)
Track length0:26
XXII. Act I, Scene viii, Aria "Non vo' legarmi il cor" (Silvio)
Track length3:21
XXIII. Act II, Scene i, Recit. "E ancor non giunge Eurilla" (Mirtillo)
Track length0:42
XXIV. Act II, Scene i, Aria "Caro Amor, sol per momenti" (Mirtillo)
Track length3:10
XXV. Act II, Scene ii, Aria "Occhi belli, voi sol siete" (Eurilla)
Track length2:52
XXVI. Act II, Scene iii, Recit. "E chi tenta rapirmi il bel tesoro?" (Mirtillo)
Track length1:01
XXVII. Act II, Scene iii, Aria "Allor che sorge astro lucente" (Mirtillo)
Track length2:06
XXVIII. Act II, Scene iv, Recit. "Mi fian cari i tuoi voti" (Amarilli)
Track length0:40
XXIX. Act II, Scene v, Recit. "Mia diletta, che pensi?" (Eurilla, Amarilli)
Track length0:41
XXX. Act II, Scene v, Aria "Finte labbra! stelle ingrate!" (Amarilli)
Track length3:34
XXXI. Act II, Scene vi, Recit. "Vanne lungi da me!" (Silvio, Dorinda)
Track length1:03
XXXII. Act II, Scene vi, Aria "Sol nel mezzo risuona del core" (Silvio)
Track length3:09
XXXIII. Act II, Scene vii, Recit. "Dorinda, ove hai tu poste le tue speranze?" (Dorinda)
Track length0:29
XXXIV. Act II, Scene vii, Aria "Se in ombre nascosto ritira" (Dorinda)
Track length3:44
XXXV. Act II, Scene viii, Recit. "Ed è pur ver" (Mirtillo, Eurilla)
Track length0:42
XXXVI. Act II, Scene viii, Aria "Nel mio core ritorna il contento" (Mirtillo)
Track length4:27
XXXVII. Act II, Scene ix, Recit. "E tu stessa vedesti recar l'invito?" (Amarilli, Eurilla)
Track length0:48
XXXVIII. Act II, Scene ix, Aria "Nò! non basta a un infedele" (Amarilli)
Track length4:03
XXXIX. Act II, Scene x, Recit. "Ah! tepido amator" (Eurilla, Mirtillo)
Track length0:12
XL. Act II, Scene xi, Recit. "Sù, sù! per mano altrui" (Eurilla)
Track length0:41
XLI. Act II, Scene xi, Aria "Ritorna adesso Amor" (Eurilla)
Track length5:45
XLII. Act III, Scene i, Recit. "Sventurato mio amore!" (Dorinda)
Track length0:21
XLIII. Act III, Scene i, Aria "Ho un non sò che nel cor" (Dorinda)
Track length2:31
XLIV. Act III, Scene ii, Recit. "Miei fidi, oggi v’accenda" (Silvio)
Track length0:38
XLV. Act III, Scene iii, Recit. "Oh! dolce uscir di vita" (Dorinda, Silvio)
Track length1:57
XLVI. Act III, Scene iii, Aria "Se m’ami, oh caro" (Dorinda)
Track length5:00
XLVII. Act III, Scene iv, Recit. "Amor, se gloria stimi" (Silvio)
Track length0:37
XLVIII. Act III, Scene iv, Aria "Tu nel piagarmi il seno" (Silvio)
Track length7:04
XLIX. Act III, Scene v, Aria "D’allor trionfante si cinga la fronte" (Eurilla)
Track length2:59
L. Act III, Scene v, Recit. "Già Amarilli fù colta" (Eurilla)
Track length0:25
LI. Act III, Scene vi, Recit. "Grazie agli Dei, mio caro" (Dorinda, Silvio, Eurilla)
Track length0:53
LII. Act III, Scene vi, Aria "Secondaste al fine, oh stelle" (Eurilla)
Track length1:32
LIII. Act III, Scene vii, Sinfonia / Recit. "Oh! Mirtillo, Mirtillo!" (Amarilli)
Track length2:17
LIV. Act III, Scene viii, Recit. "Sciogliete quelle mani!" (Mirtillo, Amarilli)
Track length1:17
LV. Act III, Scene viii, Duetto "Per te, mio dolce bene" (Mirtillo, Amarilli)
Track length2:13
LVI. Act III, Scene ix, Sinfonia
Track length0:42
LVII. Act III, Scene ix, Aria "Risonar mi sento al core" (Tirenio)
Track length4:14
LVIII. Act III, Scene ix, Recit. "E ti stringo, mio ben!" (Mirtillo, Amarilli, Dorinda, Silvio, Eurilla)
Track length0:35
LIX. Act III, Scene ix, Coro "Quel ch’il Cielo già prefisse"
Track length3:22

Awards and reviews

April 2012

Bates makes no attempt to address Il pastor fido's dramatic shortcomings in La Nuova Musica's world premiere recording. His love of Handel's instrumental textures is apparent...In Dennis, we have a fiercely individual voice with remarkable extension, in Shaw a stage-worthy characterisation, most moving in the staccato gasps of 'Se m'ami, oh caro'

June 2012

Bates lavishes evident care and affection on the score...in the main he directs his expert period band with spirit and imagination, while his singers all have pleasingly fresh, youthful voices...the most theatrically gripping [singing] comes from mezzo Madeleine Shaw as Dorinda...this set offers two hours and more of innocent, just occasionally not so innocent, Arcadian pleasures to anyone who loves Handel's music.

March 2012

Completist Handelians will doubtless be pleased to have a stylish account of the full 1712 score...Anna Dennis (Mirtillo) has a light, bright, if slightly breathy soprano and she makes little of the words...Both Lucy Crowe - the star of the set - and Katherine Manley bring more vim to the love rivals, Amarilli and Eurilla, their respectively creamy and lemony tones nicely and aptly contrasting.

22nd March 2012

rather than a living, breathing performance, the result is an elegant musical object

8th April 2012

the sensual orchestration is beautifully realised...Lucy Crowe's magnificent soprano is allowed full rein, and I enjoyed both Anna Dennis and Clint van der Linde, an outstanding countertenor. An auspicious debut.

9th March 2012

The first aria brings us scorching singing from soprano Anna Dennis as shepherd Mirtillo. The third brings Lucy Crowe, vibrant as Amarilli, the nymph of Mirtillo’s dreams. Katherine Manley, as the schemer Eurilla, is only slightly less demonstrative...A tonic; a definite tonic.

Classical Music 2nd June 2012

Bates and his companions make a virtue of simplicity in their world premiere recording of the original work. There's no want of surface detail, stylish phrasing or imaginative points of articulation here. But it's the natural ease of La Nuova Musica's work that leaves the deepest impression.
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