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Michael Alexander Willens, Kölner Akademie - Francesco Durante: Neapolitan Music for Christmas, Vol. 1 (2011)

Posted By: ArlegZ
Michael Alexander Willens, Kölner Akademie - Francesco Durante: Neapolitan Music for Christmas, Vol. 1 (2011)

Michael Alexander Willens, Kölner Akademie - Francesco Durante: Neapolitan Music for Christmas, Vol. 1 (2011)
EAC | FLAC | Image (Cue & Log) ~ 308 Mb | Total time: 72:51 | Scans included
Classical | Label: CPO | 777 571-2 | Recorded: 2010

Francesco Durante was one of the great Neapolitan church composers and teachers during the first half of the eighteenth century in Naples. He chose to focus on sacred music and his Magnificat in B flat major is doubtless the best known, most beloved, most performed, and most recorded work by him among the Neapolitan Christmas compositions on volume 1.

Federico Maria Sardelli, Orchestra of the Maggio Musicale Fiorentino - Antonio Vivaldi: Il Farnace (2015)

Posted By: ArlegZ
Federico Maria Sardelli, Orchestra of the Maggio Musicale Fiorentino - Antonio Vivaldi: Il Farnace (2015)

Federico Maria Sardelli, Orchestra of the Maggio Musicale Fiorentino - Antonio Vivaldi: Il Farnace (2015)
EAC | FLAC | Image (Cue & Log) ~ 704 Mb | Total time: 69:40+74:59 | Scans included
Classical | Label: Dynamic | # CDS7670/1-2 | Recorded: 2013

Il Farnace is the most re-written and re-proposed of Vivaldi’s operas, it’s like a beloved child who worries his father, and to whom the parent always wants to give the best. Versions of Farnace, two in 1727 and one each in 1730, 1731 and 1732, had been conceived and adapted to the different circumstances for Venice, Prague, Pavia and Mantua, always with a cast to Vivaldi’s satisfaction and with the composer in control of the production.

Federico Maria Sardelli, Modo Antiquo - Antonio Vivaldi: Orlando furioso 1714 (2012)

Posted By: ArlegZ
Federico Maria Sardelli, Modo Antiquo - Antonio Vivaldi: Orlando furioso 1714 (2012)

Federico Maria Sardelli, Modo Antiquo - Antonio Vivaldi: Orlando furioso 1714 (2012)
EAC | FLAC | Image (Cue & Log) ~ 752 Mb | Total time: 56:36+54:30 | Scans included
Classical | Label: Naïve | # OP30540 | Recorded: 2012

Naïve are delighted to announce the world premiere recording of 'Orlando Furioso', the 1714 version. It scored a huge success at the Teatro San Angelo in Venice, where it was directed by none other than Vivaldi and his father. The manuscript, rediscovered 250 years later in Vivaldi’s personal library, now in Turin, was thought to be a revision of an existing 'Orlando' of 1713 by Bolognese composer Ristori. However, the musicologists in charge of the numbering of the works of Vivaldi, Peter Ryom and his successor Federico Maria Sardelli, wondered why Vivaldi should have kept this music in his personal corpus among all his other scores, and noticed that the manuscript featured many different hands and numerous pasted-in corrections of the parts.

Roberta Mameli, Marco Vitale, Contrasto Armonico - George Frideric Handel: Cantate 01 (2013)

Posted By: ArlegZ
Roberta Mameli, Marco Vitale, Contrasto Armonico - George Frideric Handel: Cantate 01 (2013)

Roberta Mameli, Marco Vitale, Contrasto Armonico - George Frideric Handel: Cantate 01 (2013)
EAC | FLAC | Image (Cue & Log) ~ 289 Mb | Total time: 61:19 | Scans included
Classical | Label: Ayros | # AY-HC01 | Recorded: 2012

Handel’s cantatas represent an important musical repertoire that until recently has been little known. Consisting of about 100 separate works, most were written over a period of a few years for private performance in Italy. They range from musical miniatures containing only two arias connected by recitative and accompanied by continuo to larger works with named characters, a dramatic story, and rich instrumental forces. Telling more often than not about the pangs of love, these are intimate works, with texts frequently written by (and sometimes about) members of the privileged audience for which they were composed.

Werner Ehrhardt, L'arte del mondo - Antonio Salieri: La scuola de' gelosi (2016)

Posted By: ArlegZ
Werner Ehrhardt, L'arte del mondo - Antonio Salieri: La scuola de' gelosi (2016)

Werner Ehrhardt, L'arte del mondo - Antonio Salieri: La scuola de' gelosi (2016)
EAC | FLAC | Image (Cue & Log) ~ 714 Mb | Total time: 69:19+57:42+34:13 | Scans included
Classical | Deutsche Harmonia Mundi | # 88985332282 | Recorded: 2015

In its day La scuola de’ gelosi (1778) was one of the best-known comic operas by Antonio Salieri (1750–1825), remaining a box-office hit for decades. All the more astonishing is the fact that it could sink into obscurity. Even Goethe was excited by this masterpiece: “The opera is the audience’s favourite, and the audience is right. It contains an astonishing richness and variety, and the subject is treated with the most exquisite taste. I was moved by every aria.” In the wake of its world premiere in Venice in 1778, La scuola de’ gelosi was performed in opera houses all over Europe, from Dresden, Vienna, Prague and Paris to cities as far away as London and St Petersburg, before it passed into near-oblivion.

Ottavio Dantone, Accademia Bizantina - Antonio Vivaldi: L'incoronazione di Dario (2014)

Posted By: ArlegZ
Ottavio Dantone, Accademia Bizantina - Antonio Vivaldi: L'incoronazione di Dario (2014)

Ottavio Dantone, Accademia Bizantina - Antonio Vivaldi: L'incoronazione di Dario (2014)
EAC | FLAC | Image (Cue & Log) ~ 769 Mb | Total time: 64:34+68:57+43:52 | Scans included
Classical | Label: Naïve | # OP 30553 | Recorded: 2013

'L’incoronazione di Dario' must be considered one of Vivaldi’s most successful operas. Immediately opening with exceptional arias, it moves at a rapid pace, holding the listener’s attention throughout. Recitatives are interspersed with arioso interludes and there no less than eight 'big' numbers sure to join the ranks of 'Vivaldi’s best opera arias'. The excellent cast acts out this drama with conviction: Anders Dahlin’s sings Dario, with impeccable intonation and stunning coloratura passages; Sara Mingardo, as Statira, brings great depth and beauty, most especially in her Act 2 solo Cantata accompanied only by viola da gamba.

Fabio Biondi, Stuttgarter Kammerorchester - Francesco Feo: San Francesco di Sales (2018)

Posted By: ArlegZ
Fabio Biondi, Stuttgarter Kammerorchester - Francesco Feo: San Francesco di Sales (2018)

Fabio Biondi, Stuttgarter Kammerorchester - Francesco Feo: San Francesco di Sales (2018)
EAC | FLAC | Image (Cue & Log) ~ 587 Mb | Total time: 75:11+62:41 | Scans included
Classical | Label: Glossa | # GCD 923409 | Recorded: 2017

Fabio Biondi’s immense curiosity for characterful music – especially of forgotten scores from the Baroque – yields another fabulous surprise with Francesco Feo’s oratorio San Francesco di Sales. Feo’s reputation is at last starting to wax after having waned dramatically in the nineteenth century and thenceforward: in his own age he was compared very highly with Bach and Handel, and Charles Burney was moved to describe his vocal music as being “full of fire and invention and force in the melody and expression of the words”; Feo was also a boon companion of Pergolesi.

Dorothee Oberlinger, Ensemble 1700 - Giovanni Battista Bononcini: Polifemo (2020)

Posted By: delpotro
Dorothee Oberlinger, Ensemble 1700 - Giovanni Battista Bononcini: Polifemo (2020)

Dorothee Oberlinger, Ensemble 1700, Roberta Mameli, Liliya Gaysina, Joao Fernandes, Helena Rasker, Bruno De Sa, Roberta Invernizzi & Maria Ladurner - Giovanni Battista Bononcini: Polifemo (2020)
EAC Rip | FLAC (tracks+log+.cue) - 427 Mb | MP3 CBR 320 kbps - 224 Mb | Digital booklet | 01:35:01
Classical, Opera | Label: deutsche harmonia mundi

The serenata Polifemo opens with an overture for which Bononcini adopts the formal model of the two-part French ouverture in which a slower section with dotted rhythms is followed by a quicker section often involving fugal textures. Bononcini combines his French model with the Italian concerto principle with its multiple choirs of instruments: here the wind ensemble alternates in the quick section with the strings. Although it is in only one act, Polifemo is made up of no fewer than twenty musical numbers: seventeen arias, two duets and one chorus. With a single exception, these numbers are cast in da capo form. Some have no instrumental prelude, whereas eight end with a postlude described as a “ritornello”, with elaborately worked-out parts for the instrumentalists. These postludes presumably allowed preparations to be made for the following action.

Antonio Greco, OIDI Festival Baroque Ensemble - Francesco Cavalli, Alessandro Stradella: ll Novello Giasone (2014)

Posted By: ArlegZ
Antonio Greco, OIDI Festival Baroque Ensemble - Francesco Cavalli, Alessandro Stradella: ll Novello Giasone (2014)

Antonio Greco, OIDI Festival Baroque Ensemble - Francesco Cavalli, Alessandro Stradella: ll Novello Giasone (2014)
EAC | FLAC | Image (Cue & Log) ~ 743 Mb | Total time: 70:52+49:56+47:54 | Scans included
Classical | Label: Bongiovanni ‎| # GB2464/66 | Recorded: 2011

Cavalli/Stradella's "Il Novello Giasone" was revived for the Valle d'Itria Festival in 2011 and provides us with an illuminating example of the workings of Italian baroque opera on the cusp between the first and second generation of the great composers in the genre during the mid 17th century.

Alan Curtis, Il Complesso Barocco - Vivaldi: Catone in Utica (2013)

Posted By: ArlegZ
Alan Curtis, Il Complesso Barocco - Vivaldi: Catone in Utica (2013)

Alan Curtis, Il Complesso Barocco - Vivaldi: Catone in Utica (2013)
EAC | FLAC | Image (Cue & Log) ~ 876 Mb | Total time: 69:25+60:11+31:23 | Scans included
Classical | Label: Naïve | # OP 30545 | Recorded: 2012

The world of early 18th century opera was very different to that of, say, Mozart. The story was the thing. Librettos were offered to musicians as a means of getting the poetic drama before the public. Thus the great librettists were set multiple times. So it was with Vienna's imperial poet Metastasio's Catone in Utica. This story, set in the ancient Numidian city of Utica - now a ruin in Tunisia - involves the Roman Cato the Younger and his conflict with Julius Caesar. The plot itself is the usual mixture of love and betrayal, but because it was by Metastasio there were at least two settings, by Vinci and Hasse, even before Vivaldi composed the present piece.