Tags
Language
Tags

Nathalie Stutzmann, Orfeo 55 - Contralto (2021)

Posted By: ArlegZ
Nathalie Stutzmann, Orfeo 55 - Contralto (2021)

Nathalie Stutzmann, Orfeo 55 - Contralto (2021)
EAC | FLAC | Image (Cue & Log) ~ 398 Mb | Total time: 80:19 | Scans included
Classical | Label: Erato | # 9029520955 | Recorded: 2019

Contralto Nathalie Stutzmann shines a light on the deep-voiced female singers of the Baroque era, often overshadowed by the extravagant talents and reputations of castrato singers like Farinelli and Caffarelli. Her programme of Handel, Vivaldi, Porpora, Bononcini, Caldara and Gasparini displays the variety of operatic roles – both female and male – assumed by contraltos like Vittoria Tesi and Anna Marchesini. “We must remember that the opera composers of the early 18th century saw the female contralto and the male castrato as vocally interchangeable,” says Stutzmann, “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 voice.” Stutzmann both sings and conducts Orfeo 55, the instrumental ensemble she founded a decade ago

Geoffroy Jourdain, Les Cris de Paris - Passions: Venezia 1600-1750 (2019)

Posted By: ArlegZ
Geoffroy Jourdain, Les Cris de Paris - Passions: Venezia 1600-1750 (2019)

Geoffroy Jourdain, Les Cris de Paris - Passions: Venezia 1600-1750 (2019)
EAC | FLAC | Image (Cue & Log) ~ 336 Mb | Total time: 75:33 | Scans included
Classical | Harmonia Mundi | HMM 902632 | Recorded: 2018

The transition between the Renaissance and the Baroque eras did not mark one sudden change of forms or styles, nor did it signal the end of what Claudio Monteverdi called the prima pratica, or the primary practice of Renaissance polyphony. However, a new emphasis on powerful emotional expressions became a central feature of what he dubbed the seconda pratica, which came to the fore with the development of opera, most notably in Monteverdi's L'Orfeo in 1607. Composers paid special attention to the innovations in the music of Venice, which eventually spread throughout Europe in the 17th and early 18th centuries, and such figures as Monteverdi, Antonio Lotti, and Antonio Caldara, long associated with the city, became exemplars of the new Venetian style, in both secular and sacred music.

Matthias Jung, Batzdorfer Hofkapelle, Sachsisches Vocalensemble - Antonio Lotti: Vesper Psalms (2006)

Posted By: ArlegZ
Matthias Jung, Batzdorfer Hofkapelle, Sachsisches Vocalensemble - Antonio Lotti: Vesper Psalms (2006)

Matthias Jung, Batzdorfer Hofkapelle, Sächsisches Vocalensemble - Antonio Lotti: Vesper Psalms (2006)
EAC | FLAC | Image (Cue & Log) ~ 352 Mb | Total time: 68:08 | Scans included
Classical | Label: CPO | # 777 180-2 | Recorded: 2005

The conventional wisdom about Venetian Antonio Lotti, composer of the a cappella masterwork "Crucifixus," is that as a card-carrying member of the stil antico he represented a conservative viewpoint akin to that of his later contemporary Leonardo Leo – the fewer instruments the better, the closer to the polyphonic language of Palestrina the better. Moreover, if the "Crucifixus" was the only work of Lotti that someone became acquainted with, then he/she could not be blamed for believing this was so, although he/she might note the distinct Baroque harmonic coloring of the piece as being rather unlike that of Palestrina. Here is a challenge for you – CPO's Antonio Lotti: Vesper Psalms performed by the Sächsisches Vocalensemble and Batzdorfer Hofkapelle under Matthias Jung.

George Guest, St John's College Choir, Roger Norrington, Schütz Choir - Pergolesi, D.Scarlatti, Bononcini: Stabat Mater (1995)

Posted By: ArlegZ
George Guest, St John's College Choir, Roger Norrington, Schütz Choir - Pergolesi, D.Scarlatti, Bononcini: Stabat Mater (1995)

George Guest, St John's College Choir, Roger Norrington, Schütz Choir - Pergolesi, D. Scarlatti, A. Bononcini: Stabat Mater (1995)
EAC | FLAC | Image (Cue & Log) ~ 645 Mb | Total time: 141:57 | Scans included
Classical | Label: Decca | # 443 868-2 | Recorded: 1966, 1973, 1977, 1978

This anthology of devotional music from 18th-century Venice and Naples offers an interesting and varied programme. Best known is Pergolesi’s Stabat mater, but the settings by Domenico Scarlatti and Bononcini stand well in comparison. The motets by Lotti, Caldara and Alessandro Scarlatti are real discoveries; Norrington’s performances of the latter are particularly fine. Guest’s Pergolesi suffers from a focus of sound which makes the interpretation seem somewhat generalised. However, all these performances give pleasure, while the music is melodically fresh and rhythmically vital.

Andreas Scholl, Ottavio Dantone, Accademia Bizantina - Arias for Senesino: Handel, Albinoni, Lotti, A.Scarlatti, Porpora (2005)

Posted By: ArlegZ
Andreas Scholl, Ottavio Dantone, Accademia Bizantina - Arias for Senesino: Handel, Albinoni, Lotti, A.Scarlatti, Porpora (2005)

Andreas Scholl, Ottavio Dantone, Accademia Bizantina - Arias for Senesino: Handel, Albinoni, Lotti, A.Scarlatti, Porpora (2005)
EAC | FLAC | Image (Cue & Log) ~ 326 Mb | Total time: 65:31 | Scans included
Classical | Label: Decca | 475 6569 | Recorded: 2004

Senesino, the voice that inspired Handel's greatest operas showpiece arias by Handel, Lotti, Albinoni, Porpora and Scarlatti. One of the truly outstanding voices of today, star countertenor Andreas Scholl celebrates one of the 18th Century's greatest vocal superstars, the remarkable male alto known as Senesino. Senesino's place in history was secured by his extraordinary association with Handel, who after travelling to Dresden to hear him, brought him to London to join his Italian Opera Company, where he was greatly celebrated by the public, and much admired by the ladies.

Thomas Hengelbrock, Balthasar-Neumann-Ensemble & Chor - Antonio Lotti: Requiem, Credo, Miserere (1999)

Posted By: ArlegZ
Thomas Hengelbrock, Balthasar-Neumann-Ensemble & Chor - Antonio Lotti: Requiem, Credo, Miserere (1999)

Thomas Hengelbrock, Balthasar-Neumann-Ensemble & Chor - Antonio Lotti: Requiem, Credo, Miserere (1999)
EAC | FLAC | Image (Cue & Log) ~ 327 Mb | Total time: 69:34 | Scans included
Classical | Label: Deutsche Harmonia Mundi | 05472 77507 2 | Recorded: 1998

Lotti's Requiem Mass in F major is considered by Thomas Hengelbrock the most important Requiem before Mozart's. It's full of expressive contrast: Lotti has an affection for a quasi-Palestrina style on the one hand and the skill to deploy more up-to-date techniques on the other. This Requiem is essentially in the late Baroque idiom, occasionally recalling certain of Vivaldi's larger sacred vocal pieces.

Balthasar-Neumann Ensemble & Choir; Thomas Hengelbrock - Lotti, Zelenka, Bach (2009)

Posted By: Designol
Balthasar-Neumann Ensemble & Choir; Thomas Hengelbrock - Lotti, Zelenka, Bach (2009)

Antonio Lotti - Jan Dismas Zelenka - Johann Sebastian Bach (2009)
Balthasar-Neumann Ensemble & Choir; Thomas Hengelbrock, conductor

EAC | FLAC | Image (Cue&Log) ~ 331 Mb | Mp3 (CBR320) ~ 174 Mb | Scans included
Classical, Choral | Label: Deutsche Harmonia Mundi | # DHM88697-59423 | 01:16:00

Gramophone Awards 2010 Best of Category - Baroque Vocal. "The Balthasar-Neumann Ensemble and Choir perform with full-blooded tension; Hengelbrock makes the fullest possible use of the plangent oboes and pulsating string chords but also ensures that the music-making never loses its focused precision…This is nothing short of revelatory."

Anthony Rooley, The Consort of Musicke - Alessandro Scarlatti, Antonio Lotti: Madrigali (1991)

Posted By: ArlegZ
Anthony Rooley, The Consort of Musicke - Alessandro Scarlatti, Antonio Lotti: Madrigali (1991)

Anthony Rooley, The Consort of Musicke - Alessandro Scarlatti, Antonio Lotti: Madrigali (1991)
EAC | FLAC | Image (Cue & Log) ~ 374 Mb | Total time: 51:44 | Scans included
Classical | Label: Deutsche Harmonia Mundi | 77194-2-RC | Recorded: 1986

In as much as Alessandro Scarlatti's music is known at all, it is the large-scale operas and the chamber cantatas that have justifiably attracted the most attention. That the leading composer for the Neapolitan stage should also have turned his hand to madrigal composition, by then a distinctly outmoded and declining genre, is easily overlooked, yet a handful of such pieces have survived in manuscripts and, as this record persuasively argues, they certainly deserve a hearing. Perhaps even more surprising than their existence and survival is their style; Scarlatti eschews the possibilities of the basso continuo and opts instead for a language which at times echoes the techniques of the great age of madrigal-writing of some 100 years earlier, and above all the music of Monteverdi and Gesualdo.

Adrian Chandler, La Serenissima - Venice by Night: Pollarolo, Vivaldi, Albinoni, Veracini, Lotti, Porta (2012)

Posted By: ArlegZ
Adrian Chandler, La Serenissima - Venice by Night: Pollarolo, Vivaldi, Albinoni, Veracini, Lotti, Porta (2012)

Adrian Chandler, La Serenissima - Venice by Night: Pollarolo, Vivaldi, Albinoni, Veracini, Lotti, Porta (2012)
EAC | FLAC | Image (Cue & Log) ~ 343 Mb | Total time: 79:47 | Scans included
Classical | Label: Avie Records | # AV 2257 | Recorded: 2011

Adrian Chandler and La Serenissima s 10th release for Avie coinciding with the label s 10th anniversary has all the hallmarks that have made the Vivaldi specialists one of the best-selling and acclaimed period-instrument bands performing today. As with the chart-topping French Connection 2 (AVR 2218), which featured the world-premiere recording of the flute concerto Il Gran Mogol, Adrian has once again unearthed numerous works from this period, recorded for the first time.

Tresors des Requiem: Mozart; Brahms; Schumann; Lotti; Cherubini; Berlioz; Bruneau; Verdi; Faure; Saint-Saens; Durufle (2001)

Posted By: ArlegZ
Tresors des Requiem: Mozart; Brahms; Schumann; Lotti; Cherubini; Berlioz; Bruneau; Verdi; Faure; Saint-Saens; Durufle (2001)

Tresors des Requiem: Mozart; Brahms; Schumann; Lotti; Cherubini; Berlioz; Bruneau; Verdi; Faure; Saint-Saens; Durufle [4CDs] (2001)
EAC | FLAC | Image (Cue & Log) ~ 1,18 Gb | Total time: 73:54+65:36+73:21+76:22 | Scans included
Classical | Label: RCA | # 74321 840402 | Recorded: 1977-1998

Tout le monde devrait connaitre certaines oeuvres classiques. Les requiems de Mozart ou de de Saint Sens en font parti, à mes yeux.

Alan Curtis, Il Complesso Barocco - Antonio Lotti: La vita caduca. Madrigals (1997)

Posted By: ArlegZ
Alan Curtis, Il Complesso Barocco - Antonio Lotti: La vita caduca. Madrigals (1997)

Alan Curtis, Il Complesso Barocco - Antonio Lotti: La vita caduca. Madrigals (1997)
EAC | FLAC | Image (Cue & Log) ~ 390 Mb | Total time: 78:22 | Scans included
Classical | Label: Virgin Veritas | # 7243 5 45221 2 3 | Recorded: 1997

Il Complesso Barocco recorded two CDs with madrigals by Rossi and Lotti in the late 90s. In the 16th century, madrigal originated in Rome as a worldly vocal work. The text was important and was used as a starting point for the music. This form quickly became popular in Venice and other important cities. Also in the 17th century many composers continued to compose madrigals, but these were more modern, with dissonants and bold harmonies. Rossi used mostly older texts and managed to set them to music with great precision. Lotti lived decades later and composed expressively, with a lot of chromaticism.