A dazzling display of vocal virtuosity, by the stunning coloratura soprano Maria Laura Martorana. Nicola Porpora was a celebrated vocal teacher, as well as a highly respected composer, of mainly vocal works (operas, cantatas). Among his pupils were Haydn, Alessandro Scarlatti and Pergolesi. His profound knowledge of the voice and its possibilities resulted in compositions of the highest challenge to the performer. The title 'Il Volcano', one of the Cantatas recorded on this disc, gives a clear indication as to the explosive content of the music - and Maria Laura Martorana possesses all the qualities required for an effective performance of this music: effortless and brilliant vocal technique, capable of the most daunting vocal acrobatics, and a passionate and dramatic temper, conveying the strong emotions expressed in these Baroque Cantatas.

These two concertos come from late in Nino Rota's career, coming in-fact just when he was finding his greatest fame as the composer of The Godfather Trilogy. (1972). The first concerto dates from that same year, the second from the year after. Consequently there are more similarities than differences. Both are in three movements, each opening and closing with an allegro, and each playing for approximately 25 minutes. Indeed, by current, and certainly by Chandos standards, this is a short release for a classical album. There is an undeniable completeness and symmetry to simply providing the two concertos, but at full price another work in the 15-25 minute region would not have gone amiss.

Both these works are unashamedly Romantic and nostalgic in style. The E minor Piano Concerto was composed in 1960, at the same time as Rota's music for Fellini's film La dolce vita. As if in answer to the extreme cynicism of that and much of his other film music, the concerto seems to be a questioning exploration of the remaining possibilities in a modern, Romantic form. The opening Allegro-tranquillo movement begins with a dreamlike theme on the piano which is then taken up by the orchestra and developed as a sort of conversation – the orchestra insisting on a heroic, almost martial sound, while the piano and woodwind reiterate the original soft mood.

Altogether a pleasure. These are bright, capable, affectionate, well-pointed performances in good sound, with soloists who sound totally at home with the music…

Two of today’s most brilliant tenors, Michael Spyres and Lawrence Brownlee, strike sparks off each other as they celebrate the star tenors of Rossini’s time, such as Andrea Nozzari, Giovanni David, and Manuel García. Amici e Rivali – ‘Friends and Rivals’ – comprises arias, duets and trios from seven of the composer’s operas, including the ever-popular Il barbiere di Siviglia and the rarely heard Ricciardo e Zoraide. The ‘duelling tenors’ are joined by the effervescent Irish mezzo-soprano Tara Erraught, the prize-winning young Spanish tenor Xabier Anduaga, I Virtuosi Italiani and conductor Corrado Rovaris.

Rossini’s opera overtures discharge a function of decisive importance – that of captivating listeners even before the actual opera action begins. Therefore they are the instrumental highlight of every opera and in their time quickly made their way into the concert halls. In them there are numerous aha-effects such as the unusual horn solo in the first section of the overture of the comic opera Il turco in Italia. The faster part reveals further hallmarks of Rossini’s style: catchy short motifs, loud-quiet contrasts, and question-answer games between the instruments (here, for example, between the woodwind group and the solo trumpet). In the end the concluding crescendo quite literally lifts the listeners out of their seats. And all of this occurs within a quite simple formal structure – but one that functions as a guiding idea. Whether The Barber of Seville, La scala di Seta, or Il signor Bruschino – all of these famous, sparkling opera overtures are dashingly and rousingly performed by I Virtuosi Italiani. A release that you will never forget!