Subcategories
Tags
Language
Tags

Riccardo Chailly, Orchestra e Coro del Teatro Comunale di Bologna, Cecilia Bartoli - Rossini: La Cenerentola (1993)

Posted By: ArlegZ
Riccardo Chailly, Orchestra e Coro del Teatro Comunale di Bologna, Cecilia Bartoli - Rossini: La Cenerentola (1993)

Riccardo Chailly, Orchestra e Coro del Teatro Comunale di Bologna, Cecilia Bartoli - Rossini: La Cenerentola (1993)
EAC | FLAC | Image (Cue & Log) ~ 668 Mb | Total time: 72:54+75:15 | Scans included
Classical | Label: DECCA | # 436 902-2 | Recorded: 1992

It is probably now or never. With classic older sets vying with a clutch of more recent recordings, there is currently as complete and interesting an array of recordings of Rossini's La Cenerentola as we are likely to get at any one time. Among recent versions, Chailly's new Decca set is self-evidently a powerful contender. Cecilia Bartoli is arguably the most personable and musically accomplished Cenerentola since Teresa Berganza recorded the role with Abbado in 1971; and there is a strong cast of supporting principals, among them Alessandro Corbelli who offers the best characterized Dandini since Bruscantini. (With the added advantage of being far more technically expert in fioriture passages than was his distinguished predecessor.)

Fabio Biondi, Europa Galante - Handel: Poro, Rè dell'Indie (1994)

Posted By: ArlegZ
Fabio Biondi, Europa Galante - Handel: Poro, Rè dell'Indie (1994)

Fabio Biondi, Europa Galante - Handel: Poro, Rè dell'Indie (1994)
EAC | FLAC | Image (Cue & Log) ~ 308 Mb | Total time: 65:55+50:42+50:46 | Scans included
Classical | Label: Opus 111 ‎| OPS 30-113/115 | Recorded: 1995

"Poro, re dell'Indie" (HWV 28) is an opera seria in three acts by George Frideric Handel. The Italian-language libretto was adapted from Alessandro nell'Indie by Metastasio, and based on Alexander the Great's encounter with King Porus in 326 BC. The libretto had already been set to music by Leonardo Vinci in 1729 and by Antonio Vivaldi among others and was used as the text for more than sixty operas throughout the 18th century. The opera was first given at the King's Theatre in London on 2 February 1731 and on 15 further occasions. A run of 16 performances was a mark of success for the time as is the fact that the work was revived on 23 December 1731, and again in a revised form on 8 December 1736. It was also given in Hamburg and Brunswick.

Deutsche Harmonia Mundi: 50th Anniversary Edition [50CDs], Part 1 (2008)

Posted By: ArlegZ
Deutsche Harmonia Mundi: 50th Anniversary Edition [50CDs], Part 1 (2008)

Deutsche Harmonia Mundi: 50th Anniversary Edition [50CDs], Part 1 (2008)
EAC | FLAC | Image (Cue & Log) ~ 6,92 Gb | Total time: 50:56:59 | Scans included
Classical | Label: Deutsche Harmonia Mundi | # 88697 281822 | Recorded: 1969-2000

A beautifully-packaged 50-disc box set, released to celebrate the 50th anniversary of Deutsche Harmonia Mundi, one of the most important and adventurous early music labels. The set contains 50 classic recordings of baroque and ancient music, chosen to represent the breadth of this huge and varied catalogue and each disc is slip-cased with artwork replicating the original CD or LP artwork.

Fabio Bonizzoni, La Risonanza - Rossi: La bella più bella (2004)

Posted By: ArlegZ
Fabio Bonizzoni, La Risonanza - Rossi: La bella più bella (2004)

Fabio Bonizzoni, La Risonanza - Rossi: La bella più bella (2004)
EAC | FLAC | Image (Cue & Log) ~ 291 Mb | Total time: 62:56 | Scans included
Classical | Label: Stradivarius ‎| STR 33560 | Recorded: 1998

Luigi Rossi (ca. 1597 - 20 February 1653) was an Italian Baroque composer. Rossi was born in Torremaggiore, a small town near Foggia, in the ancient kingdom of Naples and at an early age he went to Naples. There he studied music with the Franco-Flemish composer Jean de Macque who was organist of the Santa Casa dell’Annunziata and maestro di cappella to the Spanish viceroy. Rossi later entered the service of the Caetanis, dukes of Traetta.

Alan Curtis, Il Complesso Barocco - Handel: Rodrigo (1999)

Posted By: ArlegZ
Alan Curtis, Il Complesso Barocco - Handel: Rodrigo (1999)

Alan Curtis, Il Complesso Barocco - Handel: Rodrigo (1999)
EAC | FLAC | Image (Cue & Log) ~ 787 Mb | Total time: 79:15+75:34 | Scans included
Classical | Label: Virgin Veritas ‎| 5 45897 2 | Recorded: 1997

Until recently, so much of this first opera that Handel wrote for Italy was lost that it was unviable to stage it. The rediscovery of the missing material, a triumph of scholarly detective work, reveals the confident high spirits which characterise so much of Handel’s music during his Italian visit. It lacks the instrumental colours of his more lavish London productions, with many arias supported by continuo alone. All are here, complete (even six which Handel himself discarded), but many are brief and, under Curtis’s lively direction, the dramatic tension builds up splendidly.

Riccardo Muti, Orchestra del Teatro alla Scala - Puccini: Manon Lescaut (2005/1998)

Posted By: Vilboa
Riccardo Muti, Orchestra del Teatro alla Scala - Puccini: Manon Lescaut (2005/1998)

Riccardo Muti, Orchestra del Teatro alla Scala - Puccini: Manon Lescaut (2005/1998)
NTSC 16:9 (720x480) | Italiano | LinearPCM, 2 ch | Dolby AC3, 6 ch | DTS, 6 ch | 7.27 Gb (DVD9) | 134 min
Classical | TDK | Sub.: English, Deutsch, Francais, Espanol, Italiano

Maria Guleghina impresses strongly. To my mind she is Puccini’s ideal ‘tart with a heart for gold’. She has control and sensitivity and she acts everybody off the stage. She’s coy (but with just a hint of being street-wise) in Act I, outrageously flighty and avaricious in Act II, and, at last, contrite in Act IV. Just watch her as she taunts Geronte di Ravoir (a far too gentlemanly Luigi Roni) in Act II and the way she disports herself on the floor of the stage to seduce Des Grieux back to her charms.

Antonio Florio, Cappella de' Turchini - Provenzale: La Colomba ferita (1997)

Posted By: ArlegZ
Antonio Florio, Cappella de' Turchini - Provenzale: La Colomba ferita (1997)

Antonio Florio, Cappella de' Turchini - Provenzale: La Colomba ferita (1997)
EAC | FLAC | Image (Cue & Log) ~ 510 Mb | Total time: 69:23+44:15 | Scans included
Classical | Label: Opus 111 | # OPS 30-208/9 | Recorded: 1997

If Naples, under the reforming wing of Caravaggio, experienced a golden age in the pictorial arts in the 17th century, the same holds true for musical composition. Antonio Florio unveils for us today the musical treasures of this dazzing era nourished by the expressive opulence of the predecessors of A. Scarlatti. A roster of remarkable soloists gives life and flesh to one of the scores exemplifying Neapolitan devotion. The casting dazzles through its presence and its incantatory illumination: Gloria Banditelli is Rosalia, thrilling, sensual, passionate. La Colomba follows on the style of Provenzale's operas. It solidifies the social ascension of the musician to the court of the viceroy, since the work was premiered at the Palace in 1670 by the figliuoli of the Conservatory of Santa Maria di Loreto, of which he was choir director. But this bountiful drama fits into the cycle of other sacred projects by Provenzale: one can attribute to him a "life" of Teresa d'Avila, one of San Gennaro, another of Santa Rosa.

Ensemble Aurora, Concerto Italiano, Fortuna Ensemble - Alessandro Scarlatti: Cantatas (2007)

Posted By: ArlegZ
Ensemble Aurora, Concerto Italiano, Fortuna Ensemble - Alessandro Scarlatti: Cantatas (2007)

Ensemble Aurora, Concerto Italiano, Fortuna Ensemble - Alessandro Scarlatti: Cantatas (2007)
EAC | FLAC | Image (Cue & Log) ~ 844 Mb | Total time: 68:53+67:07+43:01 | Scans included
Classical | Label: Brilliant Classics | # 93355 | Recorded: 1988, 1990, 2001

This is a selection of rarely-heard intimate compositions by the incredibly prolific composer, Alessandro Scarlatti. He had great affinity with opera and indeed, wrote dozens of them. His dramatic vein shows itself in many of his smaller-scale vocal works too, particularly the secular (chamber) cantatas (of which genre he wrote no less than 820), duets and in the three intermezzos. In each case, the music conveys the precise meaning of the text, which is partly in dialect. Here, the composer achieves a unique level of expressiveness.

Gabriel Garrido, Ensemble Elyma - Monteverdi: L'Orfeo (2005)

Posted By: ArlegZ
Gabriel Garrido, Ensemble Elyma - Monteverdi: L'Orfeo (2005)

Gabriel Garrido, Ensemble Elyma, Coro Antonio Il Verso - Monteverdi: L'Orfeo (2005)
EAC | FLAC | Image (Cue & Log) ~ 541 Mb | Total time: 109:55 | Scans included
Classical | Label: K617 | # K617066.2 | Recorded: 1996

At the end of the 1990s, the recordings of Gabriel Garrido represented an important landmark in the interpretation of Monteverdian opera. What attracted one’s attention straightaway in his versions were the brilliance and the hedonism of the actual recording itself. Following the precepts noted by the theorist Agostino Agazzari (a contemporary of Monteverdi) concerning continuo realization, Garrido involved not only the typical instruments which can play contrapuntally (keyboard, organ, archlute, harp, etc) but those with melodic capabilities as well. The resulting sound was opulent but never ornamental; and from it the dramatic rhythm flowed in a series of subtle ways. Reinforcing the instrumental complement was never done to the detriment of vocal concerns, which continued to have a leading role. It was precisely with the voices where Garrido set himself apart from his predecessors. By deciding to surround himself with Latin voices (Italian, French, Spanish, Argentinian…) he endowed his Monteverdi with warm, rounded and sensual vocal colours.

Jordi Savall, Le Concert des Nations - Antonio Vivaldi & Francesco Corselli: Farnace (2002)

Posted By: ArlegZ
Jordi Savall, Le Concert des Nations - Antonio Vivaldi & Francesco Corselli: Farnace (2002)

Jordi Savall, Le Concert des Nations - Antonio Vivaldi & Francesco Corselli: Farnace (2002)
EAC | FLAC | Image (Cue & Log) ~ 999 Mb | Total time: 70:04+66:00+39:13 | Scans included
Classical | Label: AliaVox | # AV 9822 A/C | Recorded: 2001

Farnace was apparently one of Vivaldi's favorite operas, because he mounted numerous productions in various cities, and wrote six versions of the score, more than of any of his other operas. The conventions of operatic vocal characterizations that came to be standard – higher voices in the sympathetic roles, and lower voices in villainous roles – had not yet been established, and Farnace features a baritone and contralto in the heroic roles, with a soprano as the villain. Soprano Adriana Fernández shines as the wicked Berenice, who is redeemed at the very last minute. She has a full, creamy voice that she deploys appealing agility and warmth. As Tamira, contralto Sara Mingardo sings with power, authority, and deep feeling. In the title role, baritone Furio Zanasi is appropriately heroic, with a rich, refined timbre and the expressive depth to create sympathy for the conflicted protagonist, but he doesn't always have the necessary strength at the bottom of his range. One of his arias, the lyrical and poignant "Gelido in ogni vena," is among the composer's loveliest creations.

Filippo Maria Bressan, Academia de li Musici - Benedetto Marcello: Arianna (2000)

Posted By: ArlegZ
Filippo Maria Bressan, Academia de li Musici - Benedetto Marcello: Arianna (2000)

Filippo Maria Bressan, Academia de li Musici - Benedetto Marcello: Arianna (2000)
EAC | FLAC | Image (Cue & Log) ~ 821 Mb | Total time: 61:42+67:13+55:00 | Scans included
Classical | Label: Chandos | # CHAN 0656(3) | Recorded: 1999

Any recording of an opera by Benedetto Marcello will, for many, bring to mind his literary satire, IL TEATRO ALLA MODA, subtitled "a safe and easy method of properly composing and producing Italian operas according to modern practice." Within its pages, no one involved in the creation of opera-librettist, composer, singers, impresario-is spared. In one passage, the composer is admonished to "oblige the impresario to provide a great number of violins, oboes, horns, etc., preferring to let him economize on double basses, for these should not be used except in the preliminary tuning."