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George Petrou, Armonia Atenea - The 5 countertenors (2015)

Posted By: ArlegZ
George Petrou, Armonia Atenea - The 5 countertenors (2015)

George Petrou, Armonia Atenea, Max Emanuel Cencic, Yuriy Mynenko, Valer Sabadus, Xavier Sabata, Vince Yi -The 5 countertenors: Jommelli, Porpora, Galuppi, Handel, Mysliveček, J.C. Bach, Gluck, Bertoni, Hasse (2015)
EAC | FLAC | Image (Cue & Log) ~ 349 Mb | Total time: 63:46 | Scans included
Classical | Label: DECCA | # 478 8094 | Recorded: 2013

Decca’s new release brings together five of the world’s most renowned countertenors, who bring the rich world of baroque opera to life. Once rarely heard, countertenors are now firmly established on the operatic stage and concert platform and their popularity has reached an all-time high. This album features virtuosic highlights from baroque opera and showcases the extraordinary abilities of five astonishing artists: Max Emanuel Cencic, Yuriy Mynenko, Valer Sabadus, Xavier Sabata and Vince Yi.

Andreas Scholl, Dominique Visse, Pascal Bertin - Les contre-ténors (1995)

Posted By: ArlegZ
Andreas Scholl, Dominique Visse, Pascal Bertin - Les contre-ténors (1995)

Andreas Scholl, Dominique Visse, Pascal Bertin - Les contre-ténors (1995)
EAC | FLAC | Image (Cue & Log) ~ 181 Mb | Total time: 34:41 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901552 | Recorded: 1995

This short (less than 40 minutes) CD is a sly satire on the popularity of the "Three Tenors" recordings–in which a trio of talented but aging opera stars recorded show tunes that did not strain their voices. The liner notes speak of a struggle of "tenors vs. countertenors". The album purports to be the countertenors reclaiming musical material that was stolen from them.

Philippe Jaroussky, Max Emanuel Cencic, William Christie, Les Arts Florissants - Duetti (2011)

Posted By: ArlegZ
Philippe Jaroussky, Max Emanuel Cencic, William Christie, Les Arts Florissants - Duetti (2011)

Philippe Jaroussky, Max Emanuel Cencic, William Christie, Les Arts Florissants - Duetti: Bononcini, Mancini, Conti, Porpora, Marcello, Scarlatti (2011)
EAC | FLAC | Image (Cue & Log) ~ 382 Mb | Total time: 74:21 | Scans included
Classical | Label: Virgin Classics | # 5099907094323 | Recorded: 2011

This album of Baroque cantatas and chamber duets grew out of a 2007 performance of Stefano Landi's 1631 opera Il Sant'Alessio starring Philippe Jaroussky and Max Emanuel Cencic (among the eight countertenors in the cast) with William Christie conducting Les Arts Florissants. Christie was so impressed with the blend of Jaroussky and Cencic's voices that he brought them together to explore the vast and rarely performed repertoire of late 17th and early 18th century Italian duets for equal voices.

Dmitry Egorov, Michael Schneider, La Stagione Frankfurt - A.Scarlatti, Handel: Il Primo Uomo: Arias for Nicolini (2011)

Posted By: ArlegZ
Dmitry Egorov, Michael Schneider, La Stagione Frankfurt - A.Scarlatti, Handel: Il Primo Uomo: Arias for Nicolini (2011)

Dmitry Egorov, Michael Schneider, La Stagione Frankfurt - A.Scarlatti, Handel: Il Primo Uomo: Arias for Nicolini (2011)
EAC | FLAC | Image (Cue & Log) ~ 287 Mb | Total time: 69:27 | Scans included
Classical | Label: Deutsche Harmonia Mundi | # 88697816252 | Recorded: 2010

Nicolo »Nicolini« Grimaldi (1673-1732) war der »primo uomo assoluto«, der unangefochtene »erste Kastrat« auf allen großen Opernbühnen seiner Zeit. Seine Stimme war in ihrem Umfang und Klang so einzigartig, dass große Komponisten wie Händel und Scarlatti Arien extra für ihn komponierten. Schon mit 13 Jahren hatte er in Neapel seine ersten Erfolge gefeiert – u. a. in einer Oper seines »Entdeckers« Scarlatti. Und so erfolgreich ging es für Nicolini weiter: 1699 debütierte er in Rom, 1700 in Venedig und betrat erstmals 1708 auf Geheiß des Earl of Manchester englischen Boden. Hier lernte er Händel kennen, mit dem er dann 1711 bei der Uraufführung der Oper Rinaldo in der gleichnamigen Titelrolle die Zuhörer begeisterte.

Andreas Scholl, Chiara Banchini, Ensemble 415 - Vivaldi: Stabat Mater (1995)

Posted By: ArlegZ
Andreas Scholl, Chiara Banchini, Ensemble 415 - Vivaldi: Stabat Mater (1995)

Andreas Scholl, Chiara Banchini, Ensemble 415 - Vivaldi: Stabat Mater (1995)
EAC | FLAC | Image (Cue & Log) ~ 238 Mb | Total time: 52:02 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901571 | Recorded: 1995

“Here's a very attractively prepared menu whose main course is the Stabatmater for countertenor and strings. Hors-d'oeuvres and side-dishes consist of a ripieno concerto (RV114), a chamber cantata for countertenor and strings (RV684), a string sonata in E flat (RV130) and an introductory motet to a lost Miserere (RV638). Taken together, the pieces demonstrate something of Vivaldi's diverse style as a composer. The chamber cantata, if closely related to the two sacred vocal items on the disc in respect of tonal colour, differs from them in character.

Philipp Jaroussky, Emmanuelle Haim, Concerto Koln - Caldara in Vienna: Forgotten castrato arias (2010)

Posted By: ArlegZ
Philipp Jaroussky, Emmanuelle Haim, Concerto Koln - Caldara in Vienna: Forgotten castrato arias (2010)

Philipp Jaroussky, Emmanuelle Haïm, Concerto Köln - Caldara in Vienna: Forgotten castrato arias (2010)
EAC | FLAC | Image (Cue & Log) ~ 371 Mb | Total time: 68:08 | Scans included
Classical | Label: Virgin Classics | # 5099964192727 | Recorded: 2010

Countertenor Philippe Jaroussky continues to amaze with the facility of his technique in the most demanding coloratura repertoire, the intelligence and deep feeling of his musicianship, and, most especially, with the full, vibrant quality of his distinctive voice. It has lost none of its freshness since he burst onto the international scene in the last years of the 20th century, and has become a richer, stronger instrument without giving up any of its remarkable agility. A champion of neglected Baroque composers, he turns his attention to Antonio Caldara (ca. 1671-1736), a near-contemporary of Vivaldi's.

Philippe Jaroussky, Jean-Christophe Spinosi, Ensemble Matheus - Vivaldi: Heroes (2006)

Posted By: ArlegZ
Philippe Jaroussky, Jean-Christophe Spinosi, Ensemble Matheus - Vivaldi: Heroes (2006)

Philippe Jaroussky, Jean-Christophe Spinosi, Ensemble Matheus - Vivaldi: Heroes (2006)
EAC | FLAC | Image (Cue & Log) ~ 261 Mb | Total time: 63:15 | Scans included
Classical | Label: Virgin | # 6 34142 2 | Recorded: 2006

Philippe Jaroussky's countertenor is not a large instrument, but what an instrument! He sings with flawless intonation; a tone that is sweet, pure, even, and focused over the full extent of his wide range; and a breathtaking command of coloratura technique. The impression that his voice is perhaps more elfin than heroic seems of minor consequence in light of its beauty, and the expressive intelligence and musicality he brings to these characters from Vivaldi operas. In spite of the bravado of the album's title, Vivaldi Heroes, many of the arias are exquisitely tender, showcasing Jaroussky's strengths in bringing out the characters' humanity and vulnerability. Any number of arias could be singled out, but "Vedro con mio diletto," from Guistino, is a standout. Matheus Ensemble, led by violinist Jean-Christophe Spinosi, is a full partner in its sensitivity and musicality and offers nuanced and colorful support.

Philippe Jaroussky, Ensemble Artaserse - Vivaldi: Virtuoso Cantatas (2005)

Posted By: ArlegZ
Philippe Jaroussky, Ensemble Artaserse - Vivaldi: Virtuoso Cantatas (2005)

Philippe Jaroussky, Ensemble Artaserse - Vivaldi: Virtuoso Cantatas (2005)
EAC | FLAC | Image (Cue & Log) ~ 328 Mb | Total time: 68:02 | Scans included
Classical | Label: Virgin | # 5 45721 2 | Recorded: 2004

A first-rate recital of rare cantatas and operatic arias . . . . Philippe Jaroussky is described as a countertenor, but in his tone and vocal range he sounds more like a soprano. He soars as effortlessly as a bird, with no sense of strain: perhaps –- for we can never know for certain -– this is how the great castrati of the 18th century sounded. . . . Philippe Jaroussky . . . is sweet-toned, and as well as singing the divisions with wonderful control he shows care for the meaning of the words. The aria from Tito Manlio, which really was written for contralto, finds him duetting with the cello obbligato of Emilia Gliozzi – superb!

Philippe Jaroussky, Ensemble Artaserse - Stabat Mater: Motets to the Virgin Mary (2010)

Posted By: ArlegZ
Philippe Jaroussky, Ensemble Artaserse - Stabat Mater: Motets to the Virgin Mary (2010)

Philippe Jaroussky, Ensemble Artaserse - Stabat Mater: Motets to the Virgin Mary (2010)
EAC | FLAC | Image (Cue & Log) ~ 361 Mb | Total time: 71:31 | Scans included
Classical | Label: Virgin Classics | # 693907 2 | Recorded: 2005

Unsurprisingly, it is in the music of the Baroque era – the heyday of the castrato – that French countertenor Philippe Jaroussky has captured the attention of music-lovers lovers around the world. The ethereal, but sensuous beauty of his voice, his virtuosity and his sense of style have brought him critical praise, a number of major awards – including, in 2008, Germany’s prestigious Echo-Klassik prize for Male Singer of the Year.

Philippe Jaroussky, Emmanuelle Haim, Le Concert d'Astree - Carestini: The story of a castrato (2007)

Posted By: ArlegZ
Philippe Jaroussky, Emmanuelle Haim, Le Concert d'Astree - Carestini: The story of a castrato (2007)

Philippe Jaroussky, Emmanuelle Haïm, Le Concert d'Astrée - Carestini: The story of a castrato (2007)
EAC | FLAC | Image (Cue & Log) ~ 422 Mb | Total time: 72:06 | Scans included
Classical | Label: Virgin | # 3 95242 2 | Recorded: 2007

Following the trend of singers releasing recitals based on the repertoire of great performers of previous centuries – Cecilia Bartoli's tribute to Maria Malibran and Juan Diego Flórez's to Giovanni Battista Rubini, for instance – countertenor Philippe Jaroussky has devoted a CD to the repertoire of eighteenth century castrato Giovanni Carestini, who was a rival of Farinelli's. According to contemporary accounts, Farinelli was the more virtuosic of the two, with a hair-raisingly dazzling coloratura, and Carestini was noted for the beauty and purity of his tone, and his profound musical and dramatic characterizations. The demands of the arias collected here make it clear that Carestini must also have had a fully developed technique, because they require remarkable agility and an awe-inspiring range that essentially encompasses both soprano and contralto registers, as well as great interpretive sensitivity.

Daniel Taylor, Theatre of Early Music - The Voice of Bach (2008)

Posted By: ArlegZ
Daniel Taylor, Theatre of Early Music - The Voice of Bach (2008)

Daniel Taylor, Theatre of Early Music - The Voice of Bach (2008)
EAC | FLAC | Image (Cue & Log) ~ 245 Mb | Total time: 53:07 | Digital booklet
Classical | Label: Sony Classical | # 88697290312 | Recorded: 2007

Hearing an album of Bach arias sung by a countertenor may not be essential for every listener. Many of the high arias from Bach's cantatas weren't the kind of operatic pieces that called for a muscular male voice comparable to those that have tackled Handel's arias in similar collections, and Bach, at least much of the time, wrote for female vocalists. If you enjoy countertenor singing, however, this release by Canadian singer Daniel Taylor may be the Bach album of choice. Taylor succeeds precisely because he doesn't try to hit you over the head with acrobatics. His voice is rich, smooth, and lyrical, and it is deployed to maximum effect in music that seems to reflect the almost sensuous approach Bach took to the depiction of religious contentment.

Graham Pushee, Paul Dyer, Australian Brandenburg Orchestra - Handel: Arias from Alcina, Julius Caesar and Rinaldo (1994)

Posted By: ArlegZ
Graham Pushee, Paul Dyer, Australian Brandenburg Orchestra - Handel: Arias from Alcina, Julius Caesar and Rinaldo (1994)

Graham Pushee, Paul Dyer, Australian Brandenburg Orchestra - Handel: Arias from Alcina, Julius Caesar and Rinaldo (1994)
EAC | FLAC | Image (Cue & Log) ~ 305 Mb | Total time: 65:35 | Scans included
Classical | Label: ABC Classics | # 446 272 2 | Recorded: 1994

The great Australian countertenor, Graham Pushee with the Australian Brandenburg Orchestra directed by Paul Dyer, stuns us all in this program of favorite arias by Handel.

Philippe Jaroussky, Jуrуmie Rhorer, Le Cercle de l'Harmonie - Johann Christian Bach: La dolce fiamma (2009)

Posted By: ArlegZ
Philippe Jaroussky, Jуrуmie Rhorer, Le Cercle de l'Harmonie - Johann Christian Bach: La dolce fiamma (2009)

Philippe Jaroussky, Jуrуmie Rhorer, Le Cercle de l'Harmonie - Johann Christian Bach: La dolce fiamma (2009)
EAC | FLAC | Image (Cue & Log) ~ 337 Mb | Total time: 63:08 | Scans included
Classical | Label: Virgin Classics | # 5 099968 572600 | Recorded: 2008

With this CD of arias by Johann Christian Bach, male soprano Philippe Jaroussky edges further afield from the Baroque repertoire in which he has made his reputation, moving into the Classical period. A 2007 album, Carestini, was devoted to arias sung by the legendary castrato, including music by Gluck (from early in his career), Handel, Graun, and Hasse, and offered some excursions slightly beyond the Baroque, but J.C. Bach wrote the solidly Classical operas seria and concert arias represented here after Carestini's death, between 1760 and 1779. While Jaroussky is fully secure in this repertoire, bringing to it his typically immaculate and imaginative musicianship, impeccable intonation, and remarkable versatility, these arias don't offer the same kinds of opportunities for the dazzling virtuosic agility that characterize his performances of Vivaldi, or the heated emotional intensity of his Monteverdi. Nonetheless, Jaroussky fans who can amend their expectations, and anyone who loves the music of J.C. Bach, should be delighted by his expansion into the music of this era.

Diego Fasolis, I Barocchisti, Julia Lezhneva, Philippe Jaroussky - Pergolesi: Stabat Mater; Laudate pueri; Confitebor (2013)

Posted By: ArlegZ
Diego Fasolis, I Barocchisti, Julia Lezhneva, Philippe Jaroussky - Pergolesi: Stabat Mater; Laudate pueri; Confitebor (2013)

Diego Fasolis, I Barocchisti, Julia Lezhneva, Philippe Jaroussky - Pergolesi: Stabat Mater; Laudate pueri; Confitebor (2013)
EAC | FLAC | Image (Cue & Log) ~ 337 Mb | Total time: 71:00 | Scans included
Classical | Label: Erato | # 319147 2 | Recorded: 2012

Russian Julia Lezhneva here shows an admirably gutsy attitude toward developing her repertory, avoiding familiar milestones in favor of an original project. Here she is paired with French countertenor Philippe Jaroussky in a program of works by Pergolesi for two high voices, strings, and continuo: the Stabat mater, for which there are plenty of other recordings, and the less-common Laudate pueri dominum and Confitebor tibi Domine. The distinctive feature here – which might tempt some to use the word "gimmick," but listen before doing so – is that Lezhneva fashions her voice into a very close copy of Jaroussky's, which is not at all an easy thing to do. Put this together with the precise, rather edgy playing of I Barocchisti under Diego Fasolis, and the result is a rather otherworldly Stabat mater.

Philippe Herreweghe, Collegium Vocale Gent - Bach: Solo Cantatas for alto, for bass; German Cantatas before Bach (2010)

Posted By: ArlegZ
Philippe Herreweghe, Collegium Vocale Gent - Bach: Solo Cantatas for alto, for bass; German Cantatas before Bach (2010)

Philippe Herreweghe, Collegium Vocale Gent - Bach: Solo Cantatas for alto, for bass; German Cantatas before Bach (2010)
EAC | FLAC | Image (Cue & Log) ~ 840 Mb | Total time: 195:20 | Scans included
Classical | Label: Harmonia Mundi | # HML 5908372.74 | Recorded: 1991, 1997, 1999

"The Scholl/Herreweghe CD is distinguished by its marriage of beautiful sound and expressive intensity. The richly nuanced orchestral playing remains forceful throughout and Scholl imbues his beguiling voice with a fervent conviction…"
– BBC Music Magazine

"Kooy must by now have appeared in more Bach cantata recordings than any other solo singer in history, and even in 1991 when these recordings were made he was an experienced Bach singer of immense authority. His performances of these soul-searching, inward-looking works are stamped with a level of technical command and sensitivity that renders more obvious gesture superfluous. This is masterly and utterly compelling singing."
– Brian Robins