THE CROWN: Heroic Arias for Senesino
with Laurence Cummings conducting the Orchestra of the Age of Enlightenment
Randall’s Debut Solo Album
The legacy of the celebrity castrato Senesino has endured for centuries. He is known to us today primarily as Handel’s leading man for 13 seasons in London, and he was recognised the world over for his moving dramatic interpretations, fiery singing, and singular, over-the-top divo personality. Yet, Handel’s music for Senesino only shows us a fraction of the numerous virtuosic roles written for the castrato. Here, for the first time, are arias by seven overlooked composers who also wrote showpieces for the (in)famous Senesino. All but one of the arias on this album are modern-day premieres and heard together, they illuminate the talents of an 18th-century operatic icon. Each of the composers on this album was a genuine musical talent, greatly admired for the refinement and skill of their compositions, but they are almost entirely forgotten today. I can think of no better group of colleagues than Laurence Cummings and the Orchestra of the Age of Enlightenment with which to perform this music after it has spent nearly 300 years in the shadows.
Why ‘The Crown’, you may wonder? Nearly every aria on this album was composed for a regal character: impassioned kings, noble heroes on the battlefield, royal lovers, and renowned conquerors. These were the roles that Senesino loved to portray on stage, perceiving a reflection of himself in their valiant power. The impression that remains after hearing this array of remarkable music is that Senesino was a truly robust and versatile singer whose abilities and range far exceeded what we have known… until now.
Concept behind the album
Recording ‘Fra l’orror d’atra foresta’
Album Tracklist
1 GIAJ Eumene, Act II: Ricordati che offesa (Eumene)
2 ARIOSTI Vespasiano, Act I: Lasso! Ch’io t’ho perduta (Tito)
3 ORLANDINI Olimpiade, Act II: Se cerca, se dice (Megacle)
4 ARIOSTI Coriolano: March of the Dead
5 ORLANDINI Adelaide, Act III: Adelaide, a te vengo (Ottone)
6 ORLANDINI Adelaide, Act III: Vedrò più liete e belle (Ottone)
7 RISTORI Adriano in Siria, Act III: Di vassallo, e d’amante (Farnaspe)
8 RISTORI Adriano in Siria, Act III: Son sventurato (Farnaspe)
9 BONONCINI Griselda, Act II: Dolce sogno (Gualtiero)
10 GIAJ Eumene, Act II: Sì, tu trovasti (Eumene)
11 GIAJ Eumene, Act II: Fra l’orror d’atra foresta (Eumene)
12 ORLANDINI Adelaide, Act II: Con due pegni (Ottone)
13 ORLANDINI Adelaide, Act II: Non disperi peregrino (Ottone)
14 GIACOMELLI Demetrio, Act II: Non so frenar il pianto (Demetrio)
15 BONONCINI Griselda, Act I: Affetto gioia (Gualtiero)
16 ORLANDINI Adelaide, Minuet (Sinfonia to Adelaide)
17 ARIOSTI Coriolano, Act II: So che guarda (Coriolano)
18 LOTTI Ascanio, Act II: Non può quest’alma in sen (Ascanio)
REVIEWS
‘Scotting’s full, darkly mellifluous voice – smooth and even throughout its range, with a resonant lower register – is well suited to these elegies, meditations and amorous outpourings… [He] shapes each aria with a feeling for the character’s predicament‘ – Gramophone
★★★★ ‘In this debut solo album, countertenor Randall Scotting lets loose a ravishing vocalism… he builds on Senesino’s legacy by applying deep colours, muscular core, and baritonal chest register to probe a huge range of feelings. In bravura numbers he pushes tempos to fever pitch, egging the other performers on, often through thrilling roulades. On slower tracks, Scotting’s messa da voce is mesmerising in music about love and despair’ – BBC Music Magazine
‘Scotting’s greatest natural asset [is] the intrinsic beauty of a voice that is also satisfyingly rounded and full… he displays a technique that includes an ability to phrase with real musical intelligence, while Scotting’s fluency with passaggi is also admirable… In sum a fascinating collection‘ – Opera
★★★★ ‘He sings his Senesino program with great commitment, feeling, drama and, above all, versatility‘ – Pizzicato
★★★★ ‘[Scotting’s] impressively even and agile instrument, with its warm, natural vibrato and particularly beguiling timbre in the lower range… his cadenzas and da capo ornaments are, like the man, both confident and stylish… If charismatically sung baroque opera arias are your thing, Randall Scotting is your man‘ – Limelight
‘Among the many falsettists now singing, you rarely find such ‘cultured’ singing as Scotting’s. A perfectly even sound, without any breaks from below or from above. He can do everything‘ – Sour Angelica
‘Baroque enthusiast will find plenty to cherish…[Scotting] markedly stands apart from some of his colleagues, as the timbre is virile and layered… It remains firmly grounded in the velvety riches of its essentially baritonal core… a highly ambitious program. The album is indeed revelatory and significant‘ – Opera Wire
‘Unknown Baroque gems in riveting performances – not to be missed! Scotting’s is a powerful voice – and beautiful… I have been deeply impressed by his singing… every lover of Baroque opera should acquire this disc and be enchanted by the riches – most of which have never before been recorded’ – Music Web International
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MORE RECORDINGS
Divine Impresario: Nicolini on Stage
Coming on 13 March 2026. Randall’s solo album of music for the famed castrato Nicolini, including some of Handel’s most beloved arias. Recorded with Laurence Cummings conducting the Academy of Ancient Music.
INFINITE REFRAIN:17th Century Gay Love Duets
Randall’s album, with tenor Jorge Navarro Colorado, of Venetian love songs and duets from Monteverdi and his colleagues. Recorded with the Academy of Ancient Music and Laurence Cummings conducting.
LOVESICK
Randall’s album of 17th-century songs on heartbreak and solitude with lutenist Stephen Stubbs
ERCOLE SU’L TERMODONTE : Vivaldi
Randall performs the role of Teseo on this live DVD recording of Ercole su’l Termodonte by Antonio Vivaldi performed at Teatro Caio Melisso in Spoleto. Recorded with il Complesso Barocco, conducted by Alan Curtis at the Festival dei due Mondi, Italy.
SANTO STEFANO : Caldara
Randall sings the title role of Stefano on this studio recording of the Oratorio di Santo Stefano Primo Re dell’Ungheria by Antonio Caldara. Recorded with the Savaria Baroque Orchestra in Budapest, Hungary, released on Hungaroton in 2011.
