Fritz Naf, Die Basler Madrigalisten - Alessandro Scarlatti: Passio Secundum Joannem (2010)

Posted By: ArlegZ
Fritz Naf, Die Basler Madrigalisten - Alessandro Scarlatti: Passio Secundum Joannem (2010)

Fritz Näf, Die Basler Madrigalisten - Alessandro Scarlatti: Passio Secundum Joannem (2010)
EAC | FLAC | Image (Cue & Log) ~ 223 Mb | Total time: 54:36 | Scans included
Classical | Label: Deutsche Harmonia Mundi | # 88697 57617 2 | Recorded: 1981

Alessandro Scarlatti’s St John Passion was the first Passion setting written in seventeenth-century Italy. Scarlatti treats the role of the Evangelist (composed in the mezzo-soprano register) in highly unusual fashion, giving his narrative numerous emotional passages. The Voice of Christ (bass) is invariably haloed by a string accompaniment.

Trevor Pinnock, The English Concert - Bach: Die Ouverturen (The Orchestral Suites) BWV1066-1069 (1999)

Posted By: ArlegZ
Trevor Pinnock, The English Concert - Bach: Die Ouverturen (The Orchestral Suites) BWV1066-1069 (1999)

Trevor Pinnock, The English Concert - Bach: Die Ouvertüren (The Orchestral Suites) BWV1066-1069 (1999)
EAC | FLAC | Image (Cue & Log) ~ 381 Mb | Total time: 76:24 | Scans included
Classical | Label: Deutsche Grammophon | # 463 013-2 | Recorded: 1978-79

Originally recorded in stereo in 1978 and 1979 and released on two separate LPs, these performances of Bach's Orchestral Suites (also known as the Overtures) with Trevor Pinnock leading his English Consort were as good as it got at the time for period instrument performances. And this 2007 single-disc re-release does not change that assessment. The Consort's strings are dry but warm – check out the Air from the Third Suite – the winds are colorful and quirky – check out the Forlane from the First Suite – the brass is controlled but cutting – check out the Ouverture from the Fourth Suite – and the timpani is vivacious but thankfully not overwhelming – check out the Réjouissance, also from the Fourth Suite. Pinnock's conducting is almost universally light and lively, and when it's not in the Second Suite, it's because the music itself is dark and dreary. Although there are dozens of great performances of the suites to choose from, if you're only going to have one recording on the shelf, it should be Pinnock's.
(James Leonard)

Augusto Ciavatta, Camerata del Titano - Giovanni Battista Sammartini: Memet (2002)

Posted By: ArlegZ
Augusto Ciavatta, Camerata del Titano - Giovanni Battista Sammartini: Memet (2002)

Augusto Ciavatta, Camerata del Titano - Giovanni Battista Sammartini: Memet (2002)
EAC | FLAC | Image (Cue & Log) ~ 796 Mb | Total time: 49:13+58:53+53:15 | Scans included
Classical | Label: Dynamic | # CDS 386/1-3 | Recorded: 2001

Giovanni Battista Sammartini was undoubtedly one of most important musicians of early 18th-century Italy. The first performance of Memet took place in 1732, when the composer was just over thirty years old. The plot complies with the enlightened music’s widespread taste for the middle-eastern world, while the structure is that of a tragedy in three acts with five characters (Memet, Solimano, Irene, Zaide and Demetrio) and without choir. The quality of the music is certainly high, thanks to Sammartini’s mature and effective orchestration and to the variety of his melodic inventiveness - quite remarkable in some solo episodes - which spans from cantabile to agility passages of virtuoso difficulty. A world première recording that is a must for opera lovers.

Rene Jacobs, Concerto Vocale - Cavalli: La Calisto (2006)

Posted By: ArlegZ
Rene Jacobs, Concerto Vocale - Cavalli: La Calisto (2006)

René Jacobs, Concerto Vocale - Cavalli: La Calisto (2006)
NTSC 4:3 (720x480) | Italiano (LinearPCM, 2 ch) | Italiano (DTS, 5 ch) | 232 min | 7.19+6.11 Gb (2xDVD9)
Classical | Label: Harmonia Mundi | Sub: Italiano, Francais, English, Deutsch, Nederlands | Recorded: 1996

Cavalli was the leading composer of opera in Venice during the 1650s, and Calisto (which premiered in November 1651) finds him at the height of his powers. Giovanni Faustini’s mythologically based libretto for Calisto tells the story of the amorous trials of two couples: Calisto, a female devotee of the goddess Diana, and her pursuer, Jove; and Diana herself, and the shepherd Endymion. As a follower of Diana, Calisto has rejected carnal relations with men; as a result, in order to win her affection, Jove disguises himself as Diana, and Calisto willingly follows him in that guise to enjoy carnal pleasure. Calisto’s actions invoke the wrath of both Diana herself, and of Jove’s wife Juno. According to the myth, Calisto is transformed into a bear, and will later ascend to the firmament as the constellation Ursa Minor. Diana, in Faustini’s version, finally admits to loving Endymion; they remain devoted to each other, but their relationship remains unconsummated.

John Eliot Gardiner, English Baroque Soloists, Monteverdi Choir - Handel: Jephtha (2008)

Posted By: ArlegZ
John Eliot Gardiner, English Baroque Soloists, Monteverdi Choir - Handel: Jephtha (2008)

John Eliot Gardiner, English Baroque Soloists, Monteverdi Choir - Handel: Jephtha (2008)
EAC | FLAC | Image (Cue & Log) ~ 732 Mb | Total time: 158:14 | Scans included
Classical | Label: DECCA | # 478 0398 | Recorded: 1988

John Eliot Gardiner’s recording was made live at the Göttingen Festival in 1988 … the exhilaration and intensity of the performance come over vividly, with superb singing from both chorus and an almost ideal line-up of soloists … as for the Monteverdi Choir, their clarity, incisiveness and beauty are a constant delight.
(Penguin Guide)

Jean-Claude Malgoire, Deutsche Handel Solisten - Antonio Salieri: Tarare (2005)

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Jean-Claude Malgoire, Deutsche Handel Solisten - Antonio Salieri: Tarare (2005)

Jean-Claude Malgoire, Deutsche Händel Solisten - Antonio Salieri: Tarare (2005)
NTSC 4:3 (720x420) | Francais (LinearPCM, 2 ch) | 175 min | 7.55 Gb (DVD9)
Classical | Label: Arthaus Musik | Sub: Francais, Deutsch, English, Espanol, Italiano, Japanese | Recorded: 1988

The work is an extraordinary curiosity; a child of the heady days just before the French Revolution, Tarare is the famous French writer's only opera and one of the Italian composer's rare French scores. First and most strikingly a work of social and political commentary, Tarare is also an entertaining work of theatre. Salieri's music supports these aims admirably and offers a few memorable moments of its own. As an opera form, Tarare defies easy categorization; it may be best described as a comedic satire dressed in the clothes of a sprawling 5 act lyric tragedy, complete with Prologue and a grand divertissement with dance.

Arnold Ostmann, Radio Symphony Orchestra Stuttgart - Antonio Salieri: Falstaff (2000)

Posted By: ArlegZ
Arnold Ostmann, Radio Symphony Orchestra Stuttgart - Antonio Salieri: Falstaff (2000)

Arnold Östmann, Radio Symphony Orchestra Stuttgart - Antonio Salieri: Falstaff (2000)
PAL 4:3 (720x576) | Italiano (LinearPCM, 2 ch) | 120 min | 6.18 Gb (DVD9)
Classical | Label: Arthaus Musik | Sub: German, English, French, Dutch

Antonio Salieri set Shakespeare’s comedy The Merry Wives of Windsor to music in 1799, and his work was successfully premiered in Vienna the same year. Michael Hampe staged Salieris’s Falstaff at the Schwetzingen SWR Festival in 1995 with similar success – wonderfully supported by the Stuttgart Radio Symphony Orchestra and conductor Arnold Östman. The libretto by Carlo Prospero Defranceschi reduces Shakespeare’s original play to a few main characters and drastically simplifies the plot. This gives John Del Carlo, Teresa Ringholz, Richard Croft and Delores Ziegler a lot of space for their artistic interpretation and brilliant singing. The work lives from the wealth of the Italian opera buffa and absorbed influences from the German Singspiel (song-play), and delights with a number of great arias.

Claudio Scimone, I Solisti Veneti - Baldassare Galuppi: La Caduta di Adamo; Concertos (2008)

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Claudio Scimone, I Solisti Veneti - Baldassare Galuppi: La Caduta di Adamo; Concertos (2008)

Claudio Scimone, I Solisti Veneti - Baldassare Galuppi: La Caduta di Adamo; Concertos (2008)
EAC | FLAC | Image (Cue & Log) ~ 736 Mb | Total time: 151:09 | Scans included
Classical | Label: Apex | # 2564 69616-5 | Recorded: 1977, 1985

Galuppi was a very accomplished composer and harpsichord player by the age of twenty with a reputation in both Venice and Florence. He was a pupil of Marcello and played for Vivaldi. He composed many serious and comic operas as well as much sacred and keyboard music. During his 79 years he travelled to St Petersburg and was well-known to the Tsar‘s family. He collaborated with the famous Italian playwright Goldoni in many projects. Goldoni‘s epigram on Galuppi: “What music! What style! What masterworks!”

Trevor Pinnock, The English Concert & Choir - Joseph Haydn: Stabat Mater (1990)

Posted By: ArlegZ
Trevor Pinnock, The English Concert & Choir - Joseph Haydn: Stabat Mater (1990)

Trevor Pinnock, The English Concert & Choir - Joseph Haydn: Stabat Mater (1990)
EAC | FLAC | Image (Cue & Log) ~ 318 Mb | Total time: 61:01 | Scans included
Classical | Label: Archiv Produktion | # 429 733-2 | Recorded: 1989

At last there is a Haydn Stabat mater within easy reach. The piece is seldom performed and even more rarely recorded, and this despite the fact that it contains some of the composer's most rich and deeply felt writing. One of the few works not written to order (Prince Nikolaus Esterhazy was less than keen on encouraging the sacred duties of his Kapellmeister) the Stabat mater is also one Haydn himself grew to respect highly, and Trevor Pinnock's performance makes it clear why.

Federico Maria Sardelli, Orchestra dell' Accademia Teatro alla Scala - Donizetti: Olivo e Pasquale (2017)

Posted By: ArlegZ
Federico Maria Sardelli, Orchestra dell' Accademia Teatro alla Scala - Donizetti: Olivo e Pasquale (2017)

Federico Maria Sardelli, Orchestra dell' Accademia Teatro alla Scala - Donizetti: Olivo e Pasquale (2017)
NTSC 16:9 (720x480) | Italiano (LinearPCM, 2 ch) | (Dolby AC3, 6 ch) | 200 min | 5,67+3,90 Gb (DVD9+DVD5)
Classical | Label: Dynamic | Sub: Italiano, English, Francais, Deutsch | Recorded: 2016

From Dynamic comes the riveting opera performance of Olivo e Pasquale, a fan favorite that has delighted audiences for years. Known also as Melodramma giocoso, or romantic comedy opera about the title character brothers and their conflicting lives with those around them, this is the 1827 Neapolitan version with slight revisions and recorded for the first time at the 2016 Donizetti Festival of Bergamo.

La Stravaganza Koln - Johann Friedrich Fasch: Concertos (2004)

Posted By: ArlegZ
La Stravaganza Koln - Johann Friedrich Fasch: Concertos (2004)

La Stravaganza Köln - Johann Friedrich Fasch: Concertos (2004)
EAC | FLAC | Image (Cue & Log) ~ 379 Mb | Total time: 71:30 | Scans included
Classical | Label: CPO | # 777 015-2 | Recorded: 2002

Johann Friedrich Fasch was a contemporary of Johann Sebastian Bach, and that has seriously hampered the interest in his music. It was the German musicologist Hugo Riemann, who at the beginning of the 20th century made an attempt to restore his reputation.
In his own time he was a man of fame, whose works were known far beyond the regions where he worked. One of the most important of these was the time he spent in Leipzig. He became a member of the Thomasschule at the age of 13. He came under the influence of Georg Philipp Telemann, who arrived in Leipzig at the same time. Fasch, who had taught himself to play the keyboard and the violin, started to compose like Telemann, which he did with so much success that some of his works were performed by the Collegium Musicum. In Leipzig he also got to know music from elsewhere in Europe, in particular the concertos of Vivaldi.

Carin van Heerden, L'Orfeo Barockorchester - Georg Philipp Telemann: 3 Orchestral Suites (2008)

Posted By: ArlegZ
Carin van Heerden, L'Orfeo Barockorchester - Georg Philipp Telemann: 3 Orchestral Suites (2008)

Carin van Heerden, L'Orfeo Barockorchester - Georg Philipp Telemann: 3 Orchestral Suites (2008)
EAC | FLAC | Image (Cue & Log) ~ 377 Mb | Total time: 68:50 | Scans included
Classical | Label: CPO | # 777 218-2 | Recorded: 2006

The orchestral suites on this enchanting new disc of Telemann are beautiful works, considered by some as the most difficult pieces Telemann wrote for recorder and oboe. The music fascinates from the first to the last note with its originality and this is due to its Polish inflection. Telemann once wrote "a Polish tune makes the whole world jig."
South African soloist Carin van Heerden is a founding member of the Austrian L'Orfeo Baroque Orchestra and performs with this orchestra regularly. Various CD's with this orchestra have been released on CPO and have brought international acclaim.

Christoph Spering, Das Neue Orchester, Chorus Musicus Koln - Salieri: La Passione di nostro signore Gesu Cristo (2004)

Posted By: ArlegZ
Christoph Spering, Das Neue Orchester, Chorus Musicus Koln - Salieri: La Passione di nostro signore Gesu Cristo (2004)

Christoph Spering, Das Neue Orchester, Chorus Musicus Köln - Salieri: La Passione di nostro signore Gesu Cristo (2004)
EAC | FLAC | Image (Cue & Log) ~ 428 Mb | Total time: 47:27+43:04 | Scans included
Classical | Label: Capriccio | # 60 100 | Recorded: 2003

First performed at the Burgtheater in Vienna in 1776 La passione di nostro Signore Gesu Cristo is a work of Salieri’s early maturity. It’s a passion oratorio but one that gorges on operatic convention to make its powerfully dramatic points. If it’s further to be anatomised, the traditional recitative-aria and solo and chorus block voicings also faithfully follow operatic form and so Azione sacra is as good a term as oratorio to describe Salieri’s work.

Rudolph Palmer, Brewer Chamber Orchestra - Handel: Deidamia (2001)

Posted By: ArlegZ
Rudolph Palmer, Brewer Chamber Orchestra - Handel: Deidamia (2001)

Rudolph Palmer, Brewer Chamber Orchestra - Handel: Deidamia (2001)
EAC | FLAC | Image (Cue & Log) ~ 790 Mb | Total time: 60:53+66:21+53:50 | Scans included
Classical | Label: Albany Records | # TROY 460 | Recorded: 2001

Here we have the first recording of Handel's final Italian opera with a period instrument orchestra, chorus and a superb American cast. Deidamia was Handel's last opera. He began work on it in October, 1740, at the same time he was completing its companion work, Imeneo, which he had begun two years earlier. On November 8, Handel presented his London winter season - with some new works, some revivals - and for this purpose had engaged the Theatre Royal at Lincoln's Inn Fields. Opening night saw a semi-staged version of the serenata Il Parnasso in festa; later in the month came the premiere of Imeneo. Despite a superb score and fine cast, the production was a failure and was offered only once again in early December. The fact is that opera - Italian opera - was passe in London by this time. The public had turned to other musical delights - stage works in English of a more frivolous nature than Handel's offerings.

Michael Schneider, La Stagione - Hasse: Piramo e Tisbe (1994)

Posted By: ArlegZ
Michael Schneider, La Stagione - Hasse: Piramo e Tisbe (1994)

Michael Schneider, La Stagione - Hasse: Piramo e Tisbe (1994)
EAC | FLAC | Image (Cue & Log) ~ 601 Mb | Total time: 123:39 | Scans included
Classical | Label: Capriccio | # 60 043-2 | Recorded: 1993

Charles Burney described Johann Adolf Hasse, his contemporary, as ‘the most natural, elegant and judicious composer of vocal music, as well as the most voluminous now alive…’ His output includes 63 operas, but only two are currently recorded, yet inexplicably this is the second Piramo, albeit markedly livelier and with the bonus of its two ballet suites. Schneider’s perceptive booklet note comments that too readily we find such composers immature – ‘almost like Mozart’, rather than excitingly expressive and individual. Here even the subtitle Intermezzo tragico is novel, implying a fusion of two traditions, comic and serious. The music is equally unconventional. Recitatives slip seamlessly into and out of arias, creating a strong sense of dramatic continuity. Colours are imaginative: flutes and bassoons paint a beautiful description of Piramo’s Utopia; natural horns roar rudely as the lion approaches – though he proves a rather likeable beast in his subsequent sinfonia. The performance is excellent. Monoyios, a gentle Tisbe, floats effortlessly in melting vocalises; Schlick’s Piramo contrasts, yet matches in their love duets; while Jochens, the domineering father, confirms in his remarkably jolly suicide aria that the final tragico stage, littered with the corpses of all three characters, is not to be taken too seriously.
-George Pratt