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Francesco Cavalli (1602-1676) was a worthy successor to Monteverdi on the Venetian musical scene, and while his operas may not sustain the level of exalted musical inspiration and psychological depth of Monteverdi's, they come close enough to fully deserve the recognition they are beginning to receive. Like Monteverdi, Cavalli was a master dramatist, and his operas bristle with theatrical energy and vivid musical characterizations. L'Ormindo (1644), the first of his operas to be rediscovered (by Raymond Leppard, who conducted it at Glyndebourne in 1967), was written just two years after L'incoronazione di Poppea, and shares some of its attributes, most notably a remarkably expressive use of recitative, intriguing characters, and a dramatically arresting intermingling of comic and serious elements. The plot, unlike Monteverdi's clear and compact narrative, involves the complexity of mistaken identities, convoluted relationships, and improbable resolutions that would come to characterize later Baroque opera. The characters, however, are emotionally believable, for the most part, and are dramatically engaging, making it easier to overlook the absurdity of the plot.
L'Ormindo receives a splendid performance by the French ensemble Les Paladins, conducted by Jérôme Correas. Correas' flexibility allows the singers to deliver the recitatives with convincing naturalism, but he never lets the musical momentum sag. There's not a weak link among the large cast, all of whom negotiate the early Baroque idiom as if it were second nature, and with persuasive dramatic vigor. The singers sound like a tight comedic troupe, and their interactions have a wonderful spontaneity. Pan's acoustic is clean and resonant, with excellent, natural-sounding balance. The performance would make an excellent introduction to the neglected world of early Baroque opera, and to Cavalli's genius as a dramatic composer.
© TiVo
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Les Paladins - Jérôme Correas, direction
Sandrine Piau, L'Armonia - Les Paladins - Jérôme Correas, direction
Martin Oro, Ormindo - Les Paladins - Jérôme Correas, direction
Martin Oro, Ormindo - Howard Crook, Amida - Les Paladins - Jérôme Correas, direction
Dominique Visse, Nerillo - Les Paladins - Jérôme Correas, direction
Dominique Visse, Nerillo - Magalie Léger, Sicle - Jean-François Lombard, Erice - Les Paladins - Jérôme Correas, direction
Magalie Léger, Sicle - Les Paladins - Jérôme Correas, direction
Jean-François Lombard, Erice - Les Paladins - Jérôme Correas, direction
Jean-François Lombard, Erice - Karine Deshayes, Mirinda - Les Paladins - Jérôme Correas, direction
Martin Oro, Ormindo - Howard Crook, Amida - Jean-François Lombard, Erice - Karine Deshayes, Mirinda - Les Paladins - Jérôme Correas, direction
Stéphanie Révidat, Erisbe - Karine Deshayes, Mirinda - Jacques Bona, Hariadeno - Les Paladins - Jérôme Correas, direction
Karine Deshayes, Mirinda - Les Paladins - Jérôme Correas, direction
DISC 2
Howard Crook, Amida - Stéphanie Révidat, Erisbe - Les Paladins - Jérôme Correas, direction
Howard Crook, Amida - Magalie Léger, Sicle - Jean-François Lombard, Erice - Stéphanie Révidat, Erisbe - Les Paladins - Jérôme Correas, direction
Howard Crook, Amida - Magalie Léger, Sicle - Jean-François Lombard, Erice - Les Paladins - Jérôme Correas, direction
Dominique Visse, Nerillo - Les Paladins - Jérôme Correas, direction
Stéphanie Révidat, Erisbe - Karine Deshayes, Mirinda - Les Paladins - Jérôme Correas, direction
Martin Oro, Ormindo - Stéphanie Révidat, Erisbe - Les Paladins - Jérôme Correas, direction
Karine Deshayes, Mirinda - Les Paladins - Jérôme Correas, direction
Magalie Léger, Sicle - Jean-François Lombard, Erice - Les Paladins - Jérôme Correas, direction
Jean-François Lombard, Erice - Les Paladins - Jérôme Correas, direction
Howard Crook, Amida - Jean-François Lombard, Erice - Les Paladins - Jérôme Correas, direction
Howard Crook, Amida - Magalie Léger, Sicle - Les Paladins - Jérôme Correas, direction
Jacques Bona, Hariadeno - Les Paladins - Jérôme Correas, direction
Jacques Bona, Hariadeno - Benoît Arnould, Osmano - Les Paladins - Jérôme Correas, direction
Karine Deshayes, Mirinda - Benoît Arnould, Osmano - Les Paladins - Jérôme Correas, direction
Martin Oro, Ormindo - Stéphanie Révidat, Erisbe - Les Paladins - Jérôme Correas, direction
Martin Oro, Ormindo - Stéphanie Révidat, Erisbe - Benoît Arnould, Osmano - Les Paladins - Jérôme Correas, direction
Martin Oro, Ormindo - Stéphanie Révidat, Erisbe - Jacques Bona, Hariadeno - Benoît Arnould, Osmano - Les Paladins - Jérôme Correas, direction
Martin Oro, Ormindo - Howard Crook, Amida - Magalie Léger, Sicle - Stéphanie Révidat, Erisbe - Karine Deshayes, Mirinda - Benoît Arnould, Osmano - Les Paladins - Jérôme Correas, direction
Album review
Francesco Cavalli (1602-1676) was a worthy successor to Monteverdi on the Venetian musical scene, and while his operas may not sustain the level of exalted musical inspiration and psychological depth of Monteverdi's, they come close enough to fully deserve the recognition they are beginning to receive. Like Monteverdi, Cavalli was a master dramatist, and his operas bristle with theatrical energy and vivid musical characterizations. L'Ormindo (1644), the first of his operas to be rediscovered (by Raymond Leppard, who conducted it at Glyndebourne in 1967), was written just two years after L'incoronazione di Poppea, and shares some of its attributes, most notably a remarkably expressive use of recitative, intriguing characters, and a dramatically arresting intermingling of comic and serious elements. The plot, unlike Monteverdi's clear and compact narrative, involves the complexity of mistaken identities, convoluted relationships, and improbable resolutions that would come to characterize later Baroque opera. The characters, however, are emotionally believable, for the most part, and are dramatically engaging, making it easier to overlook the absurdity of the plot.
L'Ormindo receives a splendid performance by the French ensemble Les Paladins, conducted by Jérôme Correas. Correas' flexibility allows the singers to deliver the recitatives with convincing naturalism, but he never lets the musical momentum sag. There's not a weak link among the large cast, all of whom negotiate the early Baroque idiom as if it were second nature, and with persuasive dramatic vigor. The singers sound like a tight comedic troupe, and their interactions have a wonderful spontaneity. Pan's acoustic is clean and resonant, with excellent, natural-sounding balance. The performance would make an excellent introduction to the neglected world of early Baroque opera, and to Cavalli's genius as a dramatic composer.
© TiVo
Details of original recording : 55:34 - 75:46 - Enregistré au Temple Saint Marcel à Paris (date non précisée) - Livret de 112 pages avec notes en français, anglais & allemand avec texte intégrale de l'opéra en langue originale avec traduction dans les trois langues
About the album
- 2 disc(s) - 30 track(s)
- Total length: 02:11:05
- Main artist: Jérôme Correas
- Composer: Francesco Cavalli
- Label: Pan Classics
- Area: Italie
- Genre: Classical Opera Full Operas
- Period: Baroque Music
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