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Nathalie Stutzmann, Orfeo 55 - Quella Fiamma: Arie Antiche (2017)

Posted By: Designol
Nathalie Stutzmann, Orfeo 55 - Quella Fiamma: Arie Antiche (2017)

Nathalie Stutzmann, Orfeo 55 - Quella Fiamma: Arie Antiche (2017)
EAC | FLAC | Image (Cue&Log) ~ 373 Mb | Mp3 (CBR320) ~ 171 Mb | Artwork included
Classical, Vocal | Label: Erato | # 0190295765293 | Time: 01:13:20

The Arie Antiche compiled by Alessandro Parisotti are known to each and every student of classical singing. But with Quella fiamma, Nathalie Stutzmann and Orfeo 55 breathe new fire into this primer for the voice, performing these songs and arias with original orchestrations, as they would have been heard in their day. Before they were lessons, they were high art. This album is a selection of pieces from Arie antiche, a 19th Century collection of songs edited by Alessandro Parisotti to be a vocal primer. Though now more famous as the editor of Arie antiche, Parisotti was also a composer, and he managed to slip one of his own works into the book by attributing to Giovanni Pergolesi his song "Se tu m'ami". The collection was very much a part of the trend to rediscover old and forgotten works, and the popularity of the three-volume set has endured to this day. For this album the musicians of Orfeo 55 have worked painstakingly to source original scores and to edit the parts as necessary. While the instrumental works are not part of Parisotti’s primer, they provide brief musical interludes between the songs to enhance the overall listening experience and bring these works together into a coherent programme.

William Christie, Les Arts Florissants - Mozart: Requiem (1995)

Posted By: ArlegZ
William Christie, Les Arts Florissants - Mozart: Requiem (1995)

William Christie, Les Arts Florissants - Mozart: Requiem (1995)
EAC | FLAC | Image (Cue & Log) ~ 239 Mb | Total time: 53:39 | Scans included
Classical | Label: Erato | # 0630-10697-2 | Recorded: 1994

For all the lovely recordings of the Mozart Requiem, KV 626 - and there are many fine ones that run the gamut of 'authoritative/authentic' performances to richly robust and romantic versions that ring the halls with operatic grandeur - this 1995 recording with William Christie conducting Les Arts Florissantes is one that is so richly rewarding to return to for its delicate yet soulful sincerity. The instruments are in keeping with the instruments of Mozart's time, and the choral technique is more straight toned than other more modern choruses. The soloists - Anna Maria Panzarella, soprano, Nathalie Stutzmann, alto, Christoph Pregardien, tenor, and Nathan Berg, bass - are all excellent, both as individuals and in quartet and combinations.

Nathalie Stutzmann, Roy Goodman, The Hanover Band - Johann Sebastian Bach: Cantatas Nos. 54, 82, 170 (1996)

Posted By: ArlegZ
Nathalie Stutzmann, Roy Goodman, The Hanover Band - Johann Sebastian Bach: Cantatas Nos. 54, 82, 170 (1996)

Nathalie Stutzmann, Roy Goodman, The Hanover Band - Johann Sebastian Bach: Cantatas Nos. 54, 82, 170 (1996)
EAC | FLAC | Image (Cue & Log) ~ 259 Mb | Total time: 60:15 | Scans included
Classical | Label: RCA Victor Red Seal | # 09026 62655 2 | Recorded: 1994

Nathalie Stutzmann is regarded as one of the most remarkable musical personalities of our time and one of a few genuine contralto voices.

Nathalie Stutzmann & Orfeo 55 - Contralto (2021)

Posted By: delpotro
Nathalie Stutzmann & Orfeo 55 - Contralto (2021)

Nathalie Stutzmann & Orfeo 55 - Contralto (2021)
WEB FLAC (tracks) - 463 Mb | MP3 CBR 320 kbps - 216 Mb | 01:34:07
Classical, Vocal | Label: Warner Classics, Erato Records

Contralto Nathalie Stutzmann shines a light on the deep-voiced female singers of the Baroque era, often overshadowed by the extravagant talents and reputations of castrato singers like Farinelli and Caffarelli. Her programme of Handel, Vivaldi, Porpora, Bononcini, Caldara and Gasparini displays the variety of operatic roles – both female and male – assumed by contraltos like Vittoria Tesi and Anna Marchesini. “We must remember that the opera composers of the early 18th century saw the female contralto and the male castrato as vocally interchangeable,” says Stutzmann, “and that the voice most closely resembling a castrato is not the countertenor – produced using a falsetto technique – but the contralto, which is a natural voice.” Stutzmann both sings and conducts Orfeo 55, the instrumental ensemble she founded a decade ago.

Nathalie Stutzmann, Roy Goodman, The Hanover Band - Handel: Opera Arias (2005)

Posted By: ArlegZ
Nathalie Stutzmann, Roy Goodman, The Hanover Band - Handel: Opera Arias (2005)

Nathalie Stutzmann, Roy Goodman, The Hanover Band - Handel: Opera Arias (2005)
EAC | FLAC | Image (Cue & Log) ~ 293 Mb | Total time: 68:42 | Scans included
Classical | Label: RCA | 09026 61205 2 | Recorded: 1991

The contralto Nathalie Stutzmann was not yet 30 years of age when she made this extraordinarily dramatic recording of arias from Handels Italian operas. It showcases her impressive depth of tone, a voice of tremendous indeed, in these days, almost unrivalled projection that inevitably brings to mind the great contraltos of yore from Clara Butt to Marian Anderson. Stutzmann was, and remains, however, an entirely modern artist, who has continued to innovate in her choice of repertoire and musical partners.

Simon Rattle, Berliner Philarmoniker - Ravel: L'Enfant et les Sortilèges; Ma Mère l'Oye (2009)

Posted By: ArlegZ
Simon Rattle, Berliner Philarmoniker - Ravel: L'Enfant et les Sortilèges; Ma Mère l'Oye (2009)

Simon Rattle, Berliner Philarmoniker - Ravel: L'Enfant et les Sortilèges; Ma Mère l'Oye (2009)
EAC | FLAC | Image (Cue & Log) ~ 326 Mb | Total time: 72:58 | Scans included
Classical | Label: EMI Classics | 2 64197 2 | Recorded: 2008

The conducting of Simon Rattle is the most compelling element in this recording of Ravel's L'Enfant et les Sortilèges with the Berlin Philharmonic. Rattle draws playing of great delicacy and nuance from the orchestra, and the many sections that are scored as lightly as chamber music are played with especially loving attention to shaping the elegant and expressive phrases; the beginning of the second part of the opera is especially magical.

Robert King, King's Consort - Vivaldi: The Complete Sacred Music (11CDs) [2005]

Posted By: ArlegZ
Robert King,  King's Consort - Vivaldi: The Complete Sacred Music  (11CDs) [2005]

Robert King, King's Consort - Vivaldi: The Complete Sacred Music (11CDs) [2005]
EAC | FLAC | Image (Cue & Log) ~ 3.26 Gb | Total time: 12 hrs 53 mins | Digital booklet
Classical | Label: Hyperion | # CDS 44171/81 | Recorded: 1979

What can anyone add to the praise that has deservedly been heaped on Robert King and the King's Consort's 11 discs of the complete sacred music of Vivaldi? Can one add that every single performance is first class – wonderfully musical, deeply dedicated, and profoundly spiritual? Can one add that every single performer is first class – absolutely in-tune, entirely in-sync, and totally committed? Can one add that every single recording is first class – amazingly clean, astoundingly clear, and astonishingly warm? One can because it's all true and it's all been said before by critics and listeners across the globe. Can one say that every piece is a masterpiece – that every piece is filled with the consummate skill, the irresistible joy, and the radiant spirituality that was Vivaldi's specialty? One can because this, too, is true. From the well-known Gloria, Magnificat, and Stabat Mater to the little known In furore giustissimae irae, O qui coeli terraeque serenitas, and Cur sagittas, cur tela, truly every work is a masterpiece and anyone – from the deeply devout to the deeply doubtful – will love these works, these performances, and these recordings if they love music.
–James Leonard