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Richard Hickox, Collegium Musicum 90 - Vivaldi: Ottone in villa (1998)

Posted By: ArlegZ
Richard Hickox, Collegium Musicum 90 - Vivaldi: Ottone in villa (1998)

Richard Hickox, Collegium Musicum 90 - Vivaldi: Ottone in villa (1998)
EAC | FLAC | Image (Cue & Log) ~ 663 Mb | Total time: 75:54+68:47 | Digital booklet
Classical | Label: Chandos | # CHAN 0614(2) | Recorded: 1997

This, Vivaldi's very first opera, was premièred in Vicenza in 1713 and was an instant hit. The story is a relatively uncomplicated one by the standards of Baroque opera, of amatory pretences and misunderstandings: it has been admirably summarised by Eric Cross (who has edited the work) as a 'light-weight, amoral entertainment in which the flirtatious Cleonilla consistently has the upper hand, and gullible Emperor Ottone (a far from heroic figure) never discovers the truth about the way he has been deceived'. The score proceeds in a succession of secco recitatives (with just a very occasional accompagnato) and da capo arias – which the present cast ornament very stylishly.

Monica Groop, Juha Kangas, Ostrobothnian Chamber Orchestra - Bach: Alto Cantatas (1998)

Posted By: ArlegZ
Monica Groop, Juha Kangas, Ostrobothnian Chamber Orchestra - Bach: Alto Cantatas (1998)

Monica Groop, Juha Kangas, Ostrobothnian Chamber Orchestra - Bach: Alto Cantatas (1998)
EAC | FLAC | Image (Cue & Log) ~ 322 Mb | Total time: 71:07 | Scans included
Classical | Label: Finlandia Records | # 3984-25325-2 | Recorded: 1998

There are four surviving church cantatas by Bach for solo alto voice. One, Wiederstehe doch der Sünde BWV54 was probably composed in 1714. The other three were all written in 1726, after Bach had taken up his appointment at St. Thomas’s, Leipzig, and so it is a sensible idea to group them on one CD.
In fact, these three cantatas were all conceived during an astonishingly short space of time. BWV 170 was the first to appear, on the sixth Sunday after Trinity, which fell on 23 July, 1726. Just six weeks later, on 3 September, BWV 35 was heard for the first time at the service for the twelfth Sunday after Trinity. BWV 169 followed after a further gap of six weeks on the eighteenth Sunday after Trinity (20 October). This was an astonishing feat of composition, the more so when we reflect that Bach would have written music for the intervening Sundays as well.

Monica Groop, Aapo Hakkinen, Helsinki Baroque Orchestra - Kraus: Arias and Overtures (2014)

Posted By: ArlegZ
Monica Groop, Aapo Hakkinen, Helsinki Baroque Orchestra - Kraus: Arias and Overtures (2014)

Monica Groop, Aapo Häkkinen, Helsinki Baroque Orchestra - Kraus: Arias and Overtures (2014)
EAC | FLAC | Image (Cue & Log) ~ 279 Mb | Total time: 62:47 | Digital booklet (PDF)
Classical | Label: Naxos | # 8.572865 | Recorded: 2013

Joseph Martin Kraus was one of the most talented and progressive composers of the 18th century, and regarded by Haydn as one of the only two geniuses he knew, alongside Mozart. Following the successful audition of his opera Proserpin, Kraus became closely associated with the court of Gustav III in Stockholm. The highly dramatic Begrafnings-kantat overture was the composer’s emotional response to the assassination of his sovereign. The vocal pieces include works performed for the first time in over two centuries, ranging from Italian concert arias to rare survivals from the Royal Dramatic Theatre.