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Federico Maria Sardelli, Modo Antiquo - Antonio Vivaldi: Tito Manlio (2005)

Posted By: ArlegZ
Federico Maria Sardelli, Modo Antiquo - Antonio Vivaldi: Tito Manlio (2005)

Federico Maria Sardelli, Modo Antiquo - Antonio Vivaldi: Tito Manlio (2005)
EAC | FLAC | Image (Cue & Log) ~ 964 Mb | Total time: 194:54 | Scans included
Classical | Label: CPO | # 777 096-2 | Recorded: 2003

The general wall of obscurity surrounding Vivaldi's operas seems to be lifting. Tito Manlio, a large work composed in 1719 for a royal wedding that was called off at the last minute, was recorded on LPs in the 1970s and in 2006 received two new recordings, released at nearly the same time. So much for the theory that opera on recordings is dying! The opera is a compelling one, with a convincing father-son drama: the ancient Roman consul Tito Manlio (or Titus Manlius) plans to have his son executed for disobedience, but the younger Manlio is saved by a flood of acclamation for his military deeds. The opera seria libretto was set by several other composers of the early eighteenth century. Its central role is the young Manlio, intended for a castrato and sung here by soprano Elisabeth Scholl.

Federico Maria Sardelli, Modo Antiquo - Antonio Vivaldi: Arsilda, Regina di Ponto (2004)

Posted By: ArlegZ
Federico Maria Sardelli, Modo Antiquo - Antonio Vivaldi: Arsilda, Regina di Ponto (2004)

Federico Maria Sardelli, Modo Antiquo - Antonio Vivaldi: Arsilda, Regina di Ponto (2004)
EAC | FLAC | Image (Cue & Log) ~ 775 Mb | Total time: 166:12 | Scans included
Classical | Label: CPO | # 999 740-2 | Recorded: 2001

Antonio Vivaldi composed Arsilda, Regina di Ponto for the Venetian theater of Sant'Angelo in the fall of 1716. While Vivaldi had, by its debut, been an important member of Venetian musical culture for over a decade as a violinist and composer, he had begun composing only three years earlier. Domenico Lalli, his librettist, who settled in Venice in 1710 after fleeing his native Naples upon being charged with embezzlement, was one of the most important librettists of the first decades of the eighteenth century.

Mike Fentross, La Sfera Armoniosa - Francesco Cavalli: L'Ipermestra (2019)

Posted By: ArlegZ
Mike Fentross, La Sfera Armoniosa - Francesco Cavalli: L'Ipermestra (2019)

Mike Fentross, La Sfera Armoniosa - Francesco Cavalli: L'Ipermestra (2019)
EAC | FLAC | Image (Cue & Log) ~ 820 Mb | Total time: 61:18+57:22+47:29 | Scans included
Classical | Label: Challenge Classics | # CC 72774 | Recorded: 2006

Working in 17th-century Venice soon after the worlds first public opera houses opened there, composer Francesco Cavalli had no tradition to follow. He gave his fertile imagination free rein, tinkering with the brand-new art form to create the lively Venetian style of opera, with its melodious arias, sprightly dance rhythms, free-wheeling mythological or historical plots and generous dollops of comedy. Like most of Cavallis operas, Ilpermestra wasnt performed between the late 17th century and recent years. Ilpermestra was written on the occasion of the birth of King Philip IV of Spains first son in 1658. It was one of the most magnificent operas to have ever been staged. This is the world premiere recording of the opera, made after a live stage performance in Utrecht in 2006.

Sergio Foresti, Abchordis Ensemble, Andrea Buccarella - Cieco Amor: Opera Arias Written for Giuseppe Maria Boschi (2021)

Posted By: delpotro
Sergio Foresti, Abchordis Ensemble, Andrea Buccarella - Cieco Amor: Opera Arias Written for Giuseppe Maria Boschi (2021)

Sergio Foresti, Abchordis Ensemble, Andrea Buccarella - Cieco Amor: Opera Arias Written for Giuseppe Maria Boschi (2021)
WEB FLAC (tracks) - 387 Mb | MP3 CBR 320 kbps - 166 Mb | 01:11:-4
Classical, Opera | Label: Challenge Classics

Giuseppe Maria Boschi was undoubtably one of the most famous and virtuosic baritones of the 18th century. He had a brilliant and intense career on a par with those of renowned contemporary castrati and sopranos, including Farinelli, Senesino, Faustina Bordoni, Margherita Durastanti, Francesca Cuzzoni and Nicolini. He was one of the leading baritones throughout London from 1720 to 1728, sought after by Georg Frederich Händel, Giovanni Bononcini, and Attilio Ariosti. Warrior, father, lover, tyrant: many were the roles to show the nuances of his vocality which, judging by the music written for him, was of exceptional range and well-suited for dramatic roles.

Fabio Bonizzoni, La Risonanza - Rossi: La bella più bella (2004)

Posted By: ArlegZ
Fabio Bonizzoni, La Risonanza - Rossi: La bella più bella (2004)

Fabio Bonizzoni, La Risonanza - Rossi: La bella più bella (2004)
EAC | FLAC | Image (Cue & Log) ~ 291 Mb | Total time: 62:56 | Scans included
Classical | Label: Stradivarius ‎| STR 33560 | Recorded: 1998

Luigi Rossi (ca. 1597 - 20 February 1653) was an Italian Baroque composer. Rossi was born in Torremaggiore, a small town near Foggia, in the ancient kingdom of Naples and at an early age he went to Naples. There he studied music with the Franco-Flemish composer Jean de Macque who was organist of the Santa Casa dell’Annunziata and maestro di cappella to the Spanish viceroy. Rossi later entered the service of the Caetanis, dukes of Traetta.

Claudio Astronio, Harmonices Mundi, Emma Kirkby, Susanne Ryden, Sergio Foresti - Alessandro Stradella: Duets (2014)

Posted By: ArlegZ
Claudio Astronio, Harmonices Mundi, Emma Kirkby, Susanne Ryden, Sergio Foresti - Alessandro Stradella: Duets (2014)

Claudio Astronio, Harmonices Mundi, Emma Kirkby, Susanne Ryden, Sergio Foresti - Alessandro Stradella: Duets (2014)
EAC | FLAC | Image (Cue & Log) ~ 271 Mb | Total time: 61:14 | Scans included
Classical | Label: Briliant Classics | # 94343 | Recorded: 2013

The music by Alessandro Stradella is gaining rapidly in recognition and popularity. The composer’s extremely adventurous life (he was a ladykiller, who himself was murdered in the end by a revengeful rival) and his equally adventurous music presents a forceful image of a fascinating and important figure of the Italian Baroque.

Rinaldo Alessandrini, Concerto Italiano - Luca Marenzio: Madrigali a quattro voci, Libro Primo 1585 (1994)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Luca Marenzio: Madrigali a quattro voci, Libro Primo 1585 (1994)

Rinaldo Alessandrini, Concerto Italiano - Luca Marenzio: Madrigali a quattro voci, Libro Primo 1585 (1994)
EAC | FLAC | Image (Cue & Log) ~ 270 Mb | Total time: 62:07 | Scans included
Classical | Label: Opus 111 ‎| OPS 2-117 | Recorded: 1994

Italian Renaissance composer Luca Marenzio was internationally recognized as the leading composer of madrigals at the height of his career, in the last two decades of the sixteenth century. He was so popular (and the sales of his music so lucrative) that within years of his death, both Flemish and German publishers had issued volumes of his complete five and six part madrigals, an honor almost unheard of at the time. Marenzio's madrigals, while anticipating the songlike lyricism of monody that would come to dominate vocal music of the early Baroque, made full use of the textural and expressive qualities of Renaissance polyphony.

Sergio Foresti, Stefano Aresi, Stile Galante - Caldara: Brutus - Cantatas for Bass (2018)

Posted By: ArlegZ
Sergio Foresti, Stefano Aresi, Stile Galante - Caldara: Brutus - Cantatas for Bass (2018)

Sergio Foresti, Stefano Aresi, Stile Galante - Caldara: Brutus - Cantatas for Bass (2018)
EAC | FLAC | Image (Cue & Log) ~ 342 Mb | Total time: 66:22 | Scans included
Classical | Label: Pan Classic | PC10389 | Recorded: 2018

With this album, Stile Galante continues its work in the world of the Italian solo chamber cantata - here Stefano Aresi’s ensemble joins forces with baritone Sergio Foresti in order to bring us a selection of cantatas by Antonio Caldara (1670 - 1736) for bass. These unusual pieces are preserved in precious manuscripts in Bologna and Vienna and are extremely demanding for the singer, asking for great skills (both vocal and theatrical). The seven cantatas recorded here offer a welcome, unusual view on Italian vocal chamber music, especially as linked to the Viennese court.

Peter Kopp, Dresdner Instrumental-Concert - Vivaldi: Dixit Dominus; Galuppi: Laetatus sum, Nisi Dominus (2006)

Posted By: ArlegZ
Peter Kopp, Dresdner Instrumental-Concert - Vivaldi: Dixit Dominus; Galuppi: Laetatus sum, Nisi Dominus (2006)

Peter Kopp, Dresdner Instrumental-Concert, Körnerscher Sing-Verein Dresden - Vivaldi: Dixit Dominus; Galuppi: Laetatus sum, Nisi Dominus, Lauda Jerusalem (2006)
EAC | FLAC | Image (Cue & Log) ~ 300 Mb | Total time: 68:28 | Scans included
Classical | Label: Archiv Produktion | # 477 6145 | Recorded: 2006

Vivaldi discoveries are not infrequent. …a third D major setting by the composer of the Vespers psalm Dixit Dominus, appears here on disc for the first time. It is a splendid piece: with scoring including woodwind and trumpet, it begins with a brief but dazzling chorus and concludes with a rewardingly worked fugue. Among the several intervening sections, a duet for two tenors, highly ornamented and vivaciously sung by Paul Agnew and Thomas Cooley, the chorus 'Juravit Dominus' and a contralto aria… sung with sensibility by Sara Mingardo.

Giulio Prandi, Ghislieri Choir & Consort - Galuppi: Sacred Music (2011)

Posted By: ArlegZ
Giulio Prandi, Ghislieri Choir & Consort - Galuppi: Sacred Music (2011)

Giulio Prandi, Ghislieri Choir & Consort - Galuppi: Sacred Music (2011)
EAC | FLAC | Image (Cue & Log) ~ 345 Mb | Total time: 76:50 | Scans included
Classical | Label: Deutsche Harmonia Mundi | # 88697895982 | Recorded: 2010

The works on this disc—an undated Dixit Dominus, the Nisi Dominus of 1777, the Kyrie originally composed in 1746 and extensively revised in 1782, the Gloria of 1779, and the Credo of 1781—owe much to the Venetian School of the late Baroque, especially the sacred music of Vivaldi. [Several notable works previously attributed to Galuppi have, upon academic scrutiny, been re-attributed to Vivaldi, in fact.] On the surface, it seems surprising that music dating primarily from the last quarter of the Eighteenth Century is so comparatively little influenced by Classicism as it was then developing north of the Alps. It should be remembered, though, that the model of Alessandro Scarlatti remained a large influence on sacred music throughout Europe well into the first decades of the Nineteenth Century.