Subcategories

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.

Christophe Rousset, Il Seminario Musicale - Niccolo Jommelli: Lamentazioni per il Mercoledi Santo (1996)

Posted By: ArlegZ
Christophe Rousset, Il Seminario Musicale - Niccolo Jommelli: Lamentazioni per il Mercoledi Santo (1996)

Christophe Rousset, Il Seminario Musicale - Niccolò Jommelli: Lamentazioni per il Mercoledi Santo (1996)
EAC | FLAC | Image (Cue & Log) ~ 337 Mb | Total time: 73:58 | Scans included
Classical | Label: Virgin Veritas | # 5 45202 2 | Recorded: 1995

Jomelli, regarded by many of his contemporaries as the greatest opera composer of the century, sets the lamentations in a dramatic and religio-operatic style as a duet between two high voices. Gérard Lesne receives higher billing than Véronique Gens on the cover of the CD, but they both sing exquisitely well – too well, perhaps, for the music to be regarded in the light of a meditation on the Passion, but that’s the way that Jommelli writes it.

Giulio Prandi, Ghislieri Choir & Consort - Niccolò Jommelli: Roma 1751 - Sacred Music (2013)

Posted By: ArlegZ
Giulio Prandi, Ghislieri Choir & Consort - Niccolò Jommelli: Roma 1751 - Sacred Music (2013)

Giulio Prandi, Ghislieri Choir & Consort - Niccolò Jommelli: Roma 1751 - Sacred Music (2013)
EAC | FLAC | Image (Cue & Log) ~ 369 Mb | Total time: 77:40 | Scans included
Classical | Label: Deutsche Harmonia Mundi | # 88697895982 | Recorded: 2012

Pour tous ceux qui ne connaissaient pas la musique sacrée de Jommelli, ce CD apportera la preuve éclatante du talent et de la versatilité d’un compositeur né et mort près de Naples, mais dont l’essentiel de la carrière se déroula à Stuttgart, Vienne, Rome ainsi que dans la plupart des grandes villes italiennes.

Frieder Bernius, Stuttgarter Kammerorchester - Niccolo Jommelli: Didone Abbandonata

Posted By: ArlegZ
Frieder Bernius, Stuttgarter Kammerorchester - Niccolo Jommelli: Didone Abbandonata

Frieder Bernius, Stuttgarter Kammerorchester - Niccolò Jommelli: Didone Abbandonata (1995)
EAC | FLAC | Image (Cue & Log) ~ 712 Mb | Total time: 169:15 | Scans included
Classical | Label: Orfeo | # C 381 953 F | Recorded: 1994

Mozart greatly admired the music of Jommelli. Here is the latter’s marvellous version of the Dido and Aeneas story. Dorothea Röschmann is flexible and firm in the title role, and Martina Borst as Aeneas has a warm tone. The orchestra is robust and vivid, especially in the astonishing final scene which was famous in its day. We can only hope for more from this enterprising Stuttgart group.
Anthony Pryer

Markellos Chryssicos, Venice Baroque Orchestra - L' Olympiade: The Opera (2012)

Posted By: ArlegZ
Markellos Chryssicos, Venice Baroque Orchestra - L' Olympiade: The Opera (2012)

Markellos Chryssicos, Venice Baroque Orchestra - L' Olympiade: The Opera (2012)
EAC | FLAC | Image (Cue & Log) ~ 540 Mb | Total time: 65:55+57:16 | Digital booklet
Classical | Label: Naïve | # V 5295 | Recorded: 2011

The Venice Baroque Orchestra and a fine line-up of singers present a pasticcio setting of a libretto by Metastasio, with contributions from composers including Caldara, Vivaldi, Galuppi, Hasse and Paisiello. In the eighteenth century, 1,300 years after the last Olympic Games in ancient times, the Olympic theme was highly fashionable. Many composers based operas on the libretto L'Olimpiade by Metastasio. This recording has been structured to contain all of Metastasio’s original arias; it is a pasticcio in the sense that the music is by 16 different composers amongst the many that set the libretto between 1733 and the end of the century.

Alessandro de Marchi, Berliner Barock Akademie - Niccolo Jommelli: La Passione di Nostro Signore Gesu Cristo (1996)

Posted By: ArlegZ
Alessandro de Marchi, Berliner Barock Akademie - Niccolo Jommelli: La Passione di Nostro Signore Gesu Cristo (1996)

Alessandro de Marchi, Berliner Barock Akademie - Niccolò Jommelli: La Passione di Nostro Signore Gesù Cristo (1996)
EAC | FLAC | Image (Cue & Log) ~ 618 Mb | Total time: 79:04+46:30 | Scans included
Classical | Label: K617 | # K617063 | Recorded: 1996

Niccolò Jommelli is a composer whose significance in his own time has strangely not endured. His importance as an innovator in the field of opera is probably as significant as that of Gluck, in the generation immediately following. He was particularly important in the development of orchestrally accompanied recitative, a feature that is apparent throughout this oratorio. Indeed, the orchestral importance is one of the highlights of the disc, for, while the singing is excellent, the playing of the Berliner Barock Akademie is outstanding. There are also several excellently played aria obbligatos. This is the second feature of Jommelli’s writing that comes across as reason for surprise at his neglect. The writing in his arias is both melodically beautiful and extensively developed; many of the arias are seven or eight minutes long, yet with no padding of sequences. The demands that this places on the soloists is considerable, and they are a uniformly excellent group, Anke Herrmann and Jeffrey Francis in particular rising to the challenge of some exceptional demands with panache.

Vanni Moretto, Orchestra da Camera Milano Classica - Jommelli: L'Uccellatrice (2003)

Posted By: ArlegZ
Vanni Moretto, Orchestra da Camera Milano Classica - Jommelli: L'Uccellatrice (2003)

Vanni Moretto, Orchestra da Camera Milano Classica - Jommelli: L'Uccellatrice (2003)
EAC | FLAC | Image (Cue & Log) ~ 216 Mb | Total time: 55:20 | Scans included
Classical | Label: Dynamic | # CDS 436 | Recorded: 2003

This delightful intermezzo per musica in two acts - recounting the old story of a naïve young nobleman and of a sly girl who, after a series of squabbles and pranks, following the best of traditions, declare eternal love to each other and decide to get married - has pleased audiences ever since its first performance at the San Samuele theatre in Venice in 1750, and is here recorded for the first time. At that time the intermezzo was already a well-defined and self-standing music form, detached from opera seria, with which, originally, it had been combined. It was also, however, in a declining phase and nearing its disappearance. And yet L'uccellatrice by Niccolò Jommelli enjoyed many performances (Leipzig, 1751; Bologna, Ravenna and Vicenza, 1753; Parma, 1756; Florence, 1760; Pescia, 1772) and was even translated into French, with the score adapted and enlarged.

Christophe Rousset, Les Talens Lyriques - Niccolo Jommelli: Armida abbandonata (2005)

Posted By: ArlegZ
Christophe Rousset, Les Talens Lyriques - Niccolo Jommelli: Armida abbandonata (2005)

Christophe Rousset, Les Talens Lyriques - Niccolò Jommelli: Armida abbandonata (2005)
EAC | FLAC | Image (Cue & Log) ~ 929 Mb | Total time: 61:04+66:40+44:10 | Scans included
Classical | Label: Naïve | # AMB 9983 | Recorded: 1994

Armida abbandonata is one of Niccolo Jommelli's finest operas. It was the first he composed after returning to Naples from his triumphant years in Stuttgart (1754-1769), receiving its first performance at the Teatro San Carlo on May 30, 1770. Among those who attended was the 14-year old Mozart, whose report that Armida was "beautiful, but too serious and old-fashioned for the theater," has been frequently quoted and almost as frequently misunderstood. "The theater" almost certainly refers specifically to the San Carlo, which did indeed find Armida "too serious," in the sense of its harmonic and orchestral complexity, ironically a criticism Mozart himself would later encounter in Vienna.

Joyce DiDonato, Maxim Emelyanychev, Il Pomo d'Oro - In War & Peace (2016)

Posted By: ArlegZ
Joyce DiDonato, Maxim Emelyanychev, Il Pomo d'Oro - In War & Peace (2016)

Joyce DiDonato, Maxim Emelyanychev, Il Pomo d'Oro - In War & Peace (2016)
EAC | FLAC | Image (Cue & Log) ~ 375 Mb | Total time: 79:12 | Scans included
Classical | Label: Erato | # 0190295928469 | Recorded: 2016

Mezzo-soprano Joyce DiDonato has gained a strong following with novel, even fearless programs, flawlessly executed. The stimulus for In War & Peace was extramusical: DiDonato temporarily shelved a different project in the wake of the terrorist attack at the Bataclan concert hall in Paris. The concept is ambitious: the booklet includes quotes about finding peace from figures as varied as Patrick Stewart, Riccardo Muti, Ruth Bader Ginsburg, and an inmate at New York's Sing Sing prison. Does it directly connect with DiDonato's program of Baroque arias? Listeners will have to decide for themselves, but the good news is that the program stands on its own. War and peace are among the most common themes in Baroque opera, but DiDonato has woven them together intelligently here. For one thing, the two interpenetrate, with elevated tragic arias in the War half of the program, and complex dramatic conceptions in the Peace half. Sample Handel's remarkable "Augelletti, che cantante," from Rinaldo, with its sopranino recorder part and discursive development. Added bonuses are some world-premiere arias from the still largely unexplored corpus of opera seria from the middle 18th century, represented by compositions of Leonardo Leo and Niccolò Jommelli. Equally good are the big hits, including a magnificent, deliberate "When I am laid in earth," from Purcell's Dido and Aeneas, which shows the breadth of DiDonato's conceptualizations of war and peace. The accompaniment from the historical-instrument group Il Pomo d'Oro under Maxim Emelyanychev is ideal.
(James Manheim)

Frieder Bernius, Stuttgarter Kammerorchester - Niccolò Jommelli: Il Vologeso (1998)

Posted By: ArlegZ
Frieder Bernius, Stuttgarter Kammerorchester - Niccolò Jommelli: Il Vologeso (1998)

Frieder Bernius, Stuttgarter Kammerorchester - Niccolò Jommelli: Il Vologeso (1998)
EAC | FLAC | Image (Cue & Log) ~ 741 Mb | Total time: 175:17 | Scans included
Classical | Label: Orfeo | # C 420 983 F | Recorded: 1997

Until 1750, Europe was under the spell of the Italian opera seria for about 70 years. Then the audience began to develop a taste for more drama: no more succession of arias that were loosely welded together by an overly familiar plot, but a story in which people could live with the main characters. The French, who had stubbornly refused to go along in the European mania for Italian opera seria and had developed their own national opera, could look forward to an increasing influence of French opera. This can be clearly observed in the operas of Christoph Willibald von Gluck, who has gone down in history as the great opera reformer of the 18th century. However, there were even more composers who had implemented innovations and one of them was Niccolò Jommeli (1714-74). This Neapolitan, however, did not go out of French opera, but he dramatized the Italian opera seria. Unfortunately, the works of Jommelli are largely forgotten nowadays and it is therefore all the better that another opera by him ended up on CD: "Il vologeso", one of the innovative operas he wrote for the Duke of Stuttgart, was recorded with the Stuttgarter Kammerorchester under Frieder Bernius.

Christophe Rousset, Il Seminario Musicale - Niccolo Jommelli: Lamentazioni per il Mercoledi Santo (1996)

Posted By: ArlegZ
Christophe Rousset, Il Seminario Musicale - Niccolo Jommelli: Lamentazioni per il Mercoledi Santo (1996)

Christophe Rousset, Il Seminario Musicale - Niccolò Jommelli: Lamentazioni per il Mercoledi Santo (1996)
EAC | FLAC | Image (Cue & Log) ~ 319 Mb | Total time: 73:58 | Scans included
Classical | Label: Virgin Veritas | # 5 45202 2 | Recorded: 1995

Jomelli, regarded by many of his contemporaries as the greatest opera composer of the century, sets the lamentations in a dramatic and religio-operatic style as a duet between two high voices. Gérard Lesne receives higher billing than Véronique Gens on the cover of the CD, but they both sing exquisitely well – too well, perhaps, for the music to be regarded in the light of a meditation on the Passion, but that’s the way that Jommelli writes it. Listen to tracks 27-30: at first you would hardly believe that what you hear is a setting of a lament that the heathen have entered the sanctuary of the temple (tr.27). The mood changes dramatically on track 28, in which the speaker concludes that his sufferings have made him vile. After a happily skipping setting of the letter Lamed (tr.29), the most famous words from this chapter receive an appropriately affective treatment: O vos omnes qui transitis per viam – O all you that pass by the way, attend and see if there be any sorrow like my sorrow (tr.30) – words repeated on Good Friday in the Improperia or Reproaches.