Natalia Kawałek | Jakub Józef Orliński

Enemies In Love

Price: € 19.95
Format: CD
Label: Ëvoe Music
UPC: 5905279916050
Catnr: EVOE 005
Release date: 09 February 2018
1 CD
✓ in stock
€ 19.95
Ëvoe Music
Catalogue number
EVOE 005
Release date
09 February 2018

"His (Orlinskis) ornamentation is stylistically perfect."

TOCCATA, 11-1-2019

About the album

Love, jealousy, war, complex web of intrigue, religious conflict in the background, and additionally a whole galaxy of special effects. Sounds like a description of a modern action movie? Yes, but it could successfully correspond to a large number of Händel operas! Let's look for example at Rinaldo, the first opera, created by the composer for the London scene. Story taken from Torquato Tasso's Jerusalem Delivered, rich in expressive characters, and political forces is here supported by magic. During premiere presentation in 1711, the scenes in which sorceress Armida appeared were accompanied by pyrotechnic effects, and the whole staging was a resounding success.
It is hardly surprising - even if we forget for a moment about the visual aspect, the music itself is enough to repaint the explosive nature of the heroine. For what are the rapid instrumental interventions played with vigor by strings, if not an image of full of anger monsters that are imperiously summoned by Armida (Furie terribili)? Insidious witch knows it well how to thwart the plans of noble Rinaldo, yet her cruelty loses with the sudden affection for the enemy.
In the duo of representatives of two camps (Fermati) rapid exchange of views takes place: short, broken phrases intertwine more and more closely, wrapping the protagonists with a surprising feeling, that from hatred smoothly transforms into fascination.
Strong personality of Armida is once again manifested in a great aria in the end of the second act of the opera – Vo' far guerra, when the Queen of Damascus becomes the victim of own machinations - having led the lover astray, discovers that he begins to develop a romantic attraction towards the rival.
The desire for revenge is revealed in the spontaneous explosion of jealousy, that is perfectly highlighted by Händel with a brilliant harpsichord accompaniment, by weaving into subsequent parts of the aria a spectacular cadenza of the instrument.
Faces of love portrayed by Händel can be very different, and among the many feelings that accompany it, there is also the joy sung with enthusiasm by the loving and loved Ginevra (Volate amori). Even happy love is however sometimes tested, especially when around the lovers a circle of intrigue is tightened, and when there is an allegation of sexual irregularity - this is the situation of Romilda and Arsamene, who, despite mutual commitment, are caught in a treacherous situation, discrediting their mutual trust. Their argument (Troppo oltraggi) resembles a typical marital quarrel, in which suspicion turns up the temperature of emotions. Parts of both lovers are mirrored to each other, giving the impression as if the singers mimicked each other - his slightly ironic effect is emphasized also in part of the band, the lively accompaniment of which introduces here a little humorous distance.
A completely different atmosphere is brought by a heartbreaking aria of Tolomeo (Stille amare) that being convinced that will swallow in a moment a bowl of poison, bids farewell to life and love. It is one of the most beautiful arias intended by the composer for male alto voice
(in this case, the first performer was a famous castrato Senesino). The background of a rolling, metering the inevitably passing time, accompaniment, is dominated by lyrical melody of the part of Tolomeo.
Also Bertarido, tragic hero of Rodelinda (1725), singing a few songs later the legendary Dove sei must face the topic of death and loss. Melancholy of the king, that has been found to be dead, is mixed with longing for his beloved, and the sense of emptiness is perfectly captured by a wide, wistful phrase. The aura of sadness fills also the duo of Bertarido and Rodelinda Io t'abbraccio, ending the second act of the same opera. Parting of this famous couple is surely one of the most sensual moments in the stage music of the Baroque – singing in the same register lovers cling to each other with voices so closely that sometimes their parties become almost indistinguishable.
With a moving tenderness bid farewell also Clizia and Arcane (Addio) with a powerful five-act Teseo, opera in which Händel broke his three-act scheme, reaching for the french patterns, however at the same time returned to the present in Rinaldo world of magic.
Spells are also present in Orlando, based on the text of epic poem of Ludovico Ariosto Orlando Furioso. In this full of contrasts work certainly worth noting is the aria of the shepherdess Dorinda (Amor è qual vento), that with grace and fantasy compares the dynamics of falling in love to changing wind directions: joyful daze can quickly turn into an obsessive fear and pleasure may be undermined by jealousy.
And about jealousy Tamerlando has plenty to say, who tormented by this feeling sings bristling with fury aria, which literally sparkles with the desire for revenge (in the original cast another castrato excelled here - Andrea Pacini).
It is however the most difficult in love to face rejection. This was the fate of lover of the title queen Partenope - Arsace, who ends second act of the opera with his brilliant aria called Furibondo spira il vento. This daring show of vocal technique, filled with coloraturas and sudden interval surges, recalls the mood of the opening the CD temperamental arias of Armida, that constitute room to maneuver both for the singer, and the vigorously accompanying him band.


Today, it is difficult to imagine a world, the musical landscape of which would miss the music by Händel, however the history has been closed for his operas for many decades, already during the composer's lifetime. Virtuosic, bristling with difficulties, multithreaded works in the Neapolitan style quickly went out of fashion, and over time they have almost completely been forgotten.
Only the twentieth century cracked open the doors to this extraordinary music, whetted the appetites of music lovers with performances of the most daring arias.
There is nothing surprising in this - Händel’s sense of opera was incomparable, as evidenced by not only the ease of writing subsequent stage works, but also an exceptional talent for portraying human emotions with music.
What we find so attractive in the music of Händel is the powerful emotional charge, making it timeless. What are actually the most successful arias from his operas, if not the musical essence of various shades of infatuation, hatred, despair or joy? Even though characters of the tacks mentioned in the recording come from distant times and spaces, their feelings, lively voices of great singers, still resonate with sensibility of contemporary listeners, allowing a deeper insight into the full of mysteries dynamics of love.
Liebe, Eifersucht, Krieg, komplexes Netz von Intrigen, religiöse Konflikte im Hintergrund und zusätzlich eine ganze Galaxie von Spezialeffekten. Klingt nach einer Beschreibung eines modernen Actionfilms? Ja, aber es könnte auch erfolgreich einer großen Anzahl von Händel-Opern entsprechen! Schauen wir uns zum Beispiel Rinaldo an, die erste Oper, die der Komponist für die Londoner Bühne geschaffen hat. Die Geschichte aus Torquato Tasso's Jerusalem Delivered, reich an ausdrucksstarken Charakteren und politischen Kräften, wird hier von Zauberei begleitet. Bei der Uraufführung 1711 wurden die Szenen, in denen die Zauberin Armida auftrat, von pyrotechnischen Effekten untermalt und die gesamte Inszenierung war ein voller Erfolg.
Es ist kaum verwunderlich - auch wenn wir für einen Moment den visuellen Aspekt vergessen - die Musik selbst reicht aus, um die Brisanz der Heldin neu zu gestalten. Denn was sind die schnellen instrumentalen Interventionen, die mit Elan von Streichern gespielt werden, die von Armida (Furie terribili) herrisch beschworen werden? Die heimtückische Hexe versteht es gut, die Pläne des edlen Rinaldo zu vereiteln, doch ihre Grausamkeit verliert sich in der plötzlichen Zuneigung zum Feind.
Im Duo der Vertreter zweier Lager (Fermati) findet ein rascher Meinungsaustausch statt: kurze, gebrochene Phrasen greifen immer enger ineinander und umhüllen die Protagonisten mit einem überraschenden Gefühl, das sich aus Hass sanft in Faszination verwandelt.
Das Verlangen nach Rache offenbart sich in der spontanen Explosion der Eifersucht, die Händel mit einer brillanten Cembalobegleitung perfekt in Szene setzt, indem er in nachfolgende Teile der Arie eine spektakuläre Kadenz des Instruments einwebt.
Die von Händel dargestellten Gesichter der Liebe können sehr unterschiedlich sein und unter den vielen Gefühlen, die sie begleiten, ist es auch die Freude, die von dem liebenden und geliebten Ginevra (Volate amori) mit Begeisterung gesungen wird. Aber auch die glückliche Liebe wird manchmal auf die Probe gestellt, vor allem, wenn sich um die Liebenden herum ein Intrigenkreis verdichtet und wenn es einen Vorwurf sexueller Unregelmäßigkeiten gibt - das ist die Situation von Romilda und Arsamene, die trotz gegenseitiger Verpflichtung in einer verräterischen Situation gefangen sind und ihr gegenseitiges Vertrauen in Misskredit bringen. Ihr Argument (Troppo oltraggi) ähnelt einem typischen Ehekrach, bei dem der Verdacht die Temperatur der Emotionen erhöht. Teile der beiden Liebenden spiegeln sich ineinander und erwecken den Eindruck, als ob sich die Sänger gegenseitig nachahmen würden - seine leicht ironische Wirkung wird auch in einem Teil der Orchestergruppe betont, deren lebendige Begleitung hier eine humorvolle Distanz einleitet.
Eine ganz andere Atmosphäre bringt eine herzzerreißende Arie von Tolomeo (Stille amare), der überzeugt davon ist, dass er in einem Augenblick eine Schüssel voll Gift schlucken wird und sich von Leben und Liebe verabschiedet. Es ist eine der schönsten Arien, die der Komponist für die männliche Altstimme vorgesehen hat (in diesem Fall war der erste Darsteller ein berühmter Kastrat Senesino).
Auch Bertarido, tragischer Held von Rodelinda (1725), singt einige Lieder später die legendäre ‚Dove Sei‘ vor dem Hintergrund von Tod und Verlust stellen. Die Melancholie des Königs, die für tot befunden wurde, vermischt sich mit der Sehnsucht nach seiner Geliebten und das Gefühl der Leere wird perfekt eingefangen durch eine weite, wehmütige Phrase. Die Aura der Traurigkeit erfüllt auch das Duo von Bertarido und Rodelinda Io t'abbraccio und beendet den zweiten Akt derselben Oper. Der Abschied von diesem berühmten Paar ist sicherlich einer der sinnlichsten Momente in der Bühnenmusik des Barock - das Singen im gleichen Register, Liebhaber klammern sich mit ihren Stimmen so eng aneinander, dass ihre Gesänge manchmal fast ununterscheidbar werden.
Zauber ist auch in Orlando vorhanden, basierend auf dem Text des epischen Gedichts von Ludovico Ariosto Orlando Furioso. In diesem kontrastreichen Werk ist sicherlich die Arie der Hirtin Dorinda (Amor è qual vento) erwähnenswert, die mit Anmut und Phantasie die Dynamik des Verliebens mit wechselnden Windrichtungen vergleicht: Freudige Benommenheit kann sich schnell in eine zwanghafte Angst verwandeln und Freude kann durch Eifersucht untergraben werden.
Und über die Eifersucht hat Tamerlando viel zu sagen, wer von diesem Gefühl gequält wird, singt wütende Arien, die buchstäblich vor Rachegelüsten funkeln (im Originalbesetzung ein anderer Kastrat, der hier hervortritt - Andrea Pacini)...
Erst das zwanzigste Jahrhundert öffnete die Türen zu dieser außergewöhnlichen Musik, weckte den Appetit der Musikliebhaber mit Aufführungen der kühnsten Arien.
Kein Wunder - Händels Opernsinn war unvergleichlich, was nicht nur die Leichtigkeit des Schreibens nachfolgender Bühnenwerke beweist, sondern auch die außergewöhnliche Begabung, menschliche Emotionen mit Musik darzustellen.
Was wir in der Musik Händels so attraktiv finden, ist die kraftvolle emotionale Aufladung, die sie zeitlos macht. Was sind eigentlich die erfolgreichsten Arien aus seinen Opern, wenn nicht die musikalische Essenz aus verschiedenen Schattierungen von Verliebtheit, Hass, Verzweiflung oder Freude?



Polish countertenor Jakub Józef Orliński has gained a reputation as a singer of striking vocal beauty and daring stage craft. Trained at The Juilliard School and the Fryderyk Chopin University of Music in Warsaw, he participated in the prestigious young artist program Opera Academy at Teatr Wielki - Opera Narodowa. He is a Grand Finals winner of the Metropolitan Opera National Council Auditions and the first place winner of the Marcella Sembrich International Vocal Compeition.

An avid interpreter of the roles of Handel, Mr. Orlinki has performed in Europe and the United States in a wide range of repertoire spanning early music to modern compostitions. He has triumphed in many vocal competitions including the Moniuszko Vocal Competition, the International Early Music Vocal Competition, and the Mazovian Golden Voices Competition in Poland, Rudolf Petrák’s Singing Competition in Slovakia, the Debut Competition in Germany, and Le Grand Prix de l’Opera in Bucharest, Romania. He was the first counter tenor to win the Oratorio Society of New York’s Solo Competition.

In his spare time, Mr. Orliński enjoys breakdancing, in addition to other styles of dance. His achievements in this medium include prizes in many dance competitions. He has been featured in videos for the street wear company CROPP, as well as featured as a dancer, model and acrobat in campaigns for Levi’s, Nike, Turbokolor, Samsung, Mercedes-Benz, MAC Cosmetics, Danon, and Algida


Polish mezzo-soprano studied at the Frederic Chopin University of Music in Warsaw with prof. Izabella Kłosinska, in Rome at Conservatorio di Santa Cecilia with prof. Rebecca Berg and Sara Mingardo, and at the University of Music in Vienna with prof. Claudia Visca.

In 2012 she won 3rd price and the Audience Price at the International Cesti Opera Competition in Innsbruck. She is also the winner of 2nd price and many special awards on Internationaler Hilde Zadek Gesangswettbewerb 2013 in Vienna. From saison 2014/2015 was a member of Junges Ensemble at Theater an der Wien.

During those two seasons in Vienna she has sang the roles of Tisbe at the opening premiere of La Cenerentola of G. Rossini, as well like Annio in La Clemenza di Tito of W. A. Mozart, Olga in Eugen Oniegin of P. I. Tschaikovsky, Armida in Rinaldo of G.F. Handel, Roccolina in Gli Uccellatori of. L. F. Gassman, Concepcion in L’heure espagnole of M. Ravel, and title role in Carmen of G. Bizet .

In the summer of 2016 she made her debut in Glyndenbourne singing Cherubino in Le Nozze di Figaro of Mozart. In 2016 she sang also in Verdi’s Macbeth, together with Placido Doming in Theater an der Wien. In 2017 she sang in Teatr Wielki in Warsaw being part of the Korngold Die Tote Stadt opera production staged by M.Treliński.

Natalia participated in many musical festivals such as Haendelfestspiele Halle, Oude Musik Festival in Utrecht (Netherlands), Schleswig Holstein Musik Festival in Germany. Natalia is soloist in European baroque ensemble Il Giardino d’Amore, she made her Carnegie Hall debut with this ensemble in 2014.


Stefan Plewniak - violinist and conductor, received his training in is hometown, Krakow, where he studied with prof. B. Śliwicka-Wysocka at the Krakow Academy of Music. He continued his studies with prof. I.Strauss in Prague Music Academy, prof. R. Szreder at Maastricht Conservatory and prof F. Fernandez at Conservatoire National Superieur de Musique et de Danse in Paris.

His interest in baroque music was sparked during collaboration with Les Gôuts Reunis ensemble in the Netherlands. Subsequently, he has performed with many significant ensembles and orchestras, such as Kammeroper Köln, Warsaw Polish Radio Orchestra and Amsterdam Symphony Orchestra.

He collaborated with many renowned ensembles as a concertmaster in den Hague, Paris and Salzburg. He also cooperated with leading orchestras in Europe such as William Christie's Les Arts Florissants in Paris and Jordi Savall's Le Concert des Nations in Barcelona.

He is the founder of Il Giardino d'Amore orchestra in Vienna/ Cracow and Capella dell’ Ospedale della Pietà in Venice. In 2016 he founded new symphony orchestra The FeelHarmony.

He appeared as a soloist and leader at many important festivals in Europe, USA and China, among others Oude Muzik Festival Utrecht, Bach Festival Vienna, Tartini Festival Pirano, Styriarte Festival Graz, Early Music Celebration New York. He made his debut as a soloist in Mozarteum Salzburg and New York Carnegie Hall in 2014. Stefan Plewniak regularly presents masterclasses in Oslo, Norway as well as at the University of South California in L.A. and San Diego.

He is specializing in the opera and ballet repertoire.


Il Giardino d’Amore was founded in 2012 in Cracow. In the years 2012 & 2013 the orchestra performed at festivals such as the Bach Festival in Vienna, Utrecht Oude Muziek Festival, Tartini Festival in Piran.

In autumn 2013 the orchestra held their first tour in the USA and Canada, and performed at Festival of Early Music Celebration in New York. In 2014 Il Giardino performed in the prestigious concert hall of Mozarteum in Salzburg, as well as was invited to the festival in Oslo, Norway. During their second tour in USA they performed in Carnegie Hall New York and California, where members of Il Giardino led the master class at the Universities of Los Angeles and San Diego.

Years 2013 – 2018 are dedicated to French music. This fascination started by the recording Cantates & Petits Macarons, the CD with french cantatas in 2013, than presentation of the opera ballet by J.Ph.Rameau – Les Indes Galantes in 2015 and 2016, and it will continue this season by performance of another Rameau’s opera - ballet – Naïs.

The aim in 2016 was focused in large projects with polish sacred music. 2016 tour in US was dedicated entirely to the promotion, and popularization of this fascinating music. The fruit of this dissertation is the CD ” The Heart of Europe”.

The orchestra has recorded several CD’s for Ëvoe Records label.


His (Orlinskis) ornamentation is stylistically perfect.
TOCCATA, 11-1-2019

Vocal delights of two unknown Polish singers so far, the countertenor Jakub Josef Orlinski and the mezzo soprano Natalia Kawalek.
Kerk & leven, 10-7-2018

Natalia Kawałek has a fine soprano extension and harmonizes well with Orliński, besides which it sounds tighter. At the end of the duet Rodelinda/Bertarido from "Rodelinda" the voices circle around each other in ornaments.
Opernwelt, 02-7-2018

The two young Polish singers, Natalie Kawalek and Jakub Josef Orlsinski, master the Baroque stylistic with confidence.
Fono Forum, 01-7-2018

The young Polish countertenor Jakub Józef Orlinski gets on with Handel
Opernwelt, 15-6-2018

Orliński is the dominant figure - by virtue of the rich quality of its countertenor, which is balanced in all registers, responds well in height and naturally develops power in depth; in addition there are incredibly long phrases, light-footed coloraturas, sometimes accompanied by an excited tremor.
Das Theatermagazin, 18-5-2018

Outstanding view into the work of the Londoner of choice (Handel).
Opernglas, 11-5-2018

Orliński convinced as a whole with...a rounder tone, more subtly sung phrase ends and a timbre that has great intensity especially in the melancholic passages.
Oper!, 04-5-2018

...two attractive voices, of which we should still keep to hear.
Operalounge, 27-4-2018

A wonderful introduction to Händel's heavenly, lyrical art for two. Magnificent. An absolute musthave! And discover on occasion even the sublime album "Vivaldi Carnevale di Venezia" by dell'Ospedale Cappella della Pietà, also on the label Evoe Music.
Stretto, 18-2-2018

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