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Religieuze vocale muziek - Verschenen op 12 oktober 2010 | harmonia mundi

Hi-Res Onderscheidingen Diapason d'or - Choc de Classica - Exceptional Sound Recording - Hi-Res Audio
HI-RES€ 15,99
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Kamermuziek - Verschenen op 27 september 2011 | Aparté

Hi-Res Booklet Onderscheidingen 4F de Télérama - Choc de Classica - Choc Classica de l'année - Hi-Res Audio
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CD€ 7,49

Klassiek - Verschenen op 3 juni 2013 | Alia Vox

Hi-Res Onderscheidingen Diapason d'or - Choc de Classica - Hi-Res Audio
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Vocale muziek (wereldlijk en religieus) - Verschenen op 2 maart 2018 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
With "Siface: l’amor castrato", countertenor Filippo Mineccia, together with Javier Ulises Illán and Nereydas, presents a short imaginary pasticcio opera reflecting the music-making and life of the contralto castrato known by that stage name. Born Giovanni Francesco Grossi in 1653 in the Grand Duchy of Tuscany, Siface was acclaimed for his exciting musical performances, yet who became famous also for the tragedy of his love life. He was called upon to sing in operas and oratorios by the likes of Stradella, Pasquini, Bassani, Pallavicino and Agostini. For a long time in the service of Francesco II d’Este in Modena, Siface was an active member of the musical “ducal circuit” in the Italian peninsula, even, on one occasion, additionally being sent to England, where he performed before monarchy, and met and impressed Henry Purcell. Filippo Mineccia brilliantly captures the kaleidoscopic rush of emotions coursing through this selection of arias, which reflects the torrid and spectacular musical pace of life in late seventeenth-century Italy (as well as mirroring Siface’s own downfall on the road from Ferrara to Bologna). The Spanish ensemble Nereydas fully enter into the spirit of this, by turns, colourful, heartfelt, poignant and vivid celebration of vocal and instrumental music, which also features works by Alessandro Scarlatti (the emotive lullaby Dormi o fulmine), Francesco Cavalli and Purcell (My song shall be alway). Elena Bernardi puts flesh on still little understood aspects of the early stages of opera in the late Seicento., © Glossa
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Klassiek - Verschenen op 26 mei 2011 | Zig-Zag Territoires

Hi-Res Booklets Onderscheidingen Diapason d'or - 4F de Télérama - Hi-Res Audio
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Klassiek - Verschenen op 21 oktober 2014 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica
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Klassiek - Verschenen op 28 augustus 2012 | Aeon

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - Hi-Res Audio
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Concertmuziek - Verschenen op 14 mei 2012 | Ambroisie

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Hi-Res Audio
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Klassiek - Verschenen op 31 maart 2011 | Alpha

Hi-Res Booklets Onderscheidingen 5 de Diapason - Choc de Classica - Hi-Res Audio
HI-RES€ 14,99
CD€ 9,99

Cantates (wereldlijk) - Verschenen op 28 januari 2014 | Zig-Zag Territoires

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - Hi-Res Audio
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Klassiek - Verschenen op 1 december 2014 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
HI-RES€ 14,99
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Kamermuziek - Verschenen op 25 oktober 2019 | naïve classique

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Kamermuziek - Verschenen op 13 april 2018 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
A player of the harpsichord, organ and pianoforte; a choirmaster and conductor; Rinaldo Alessandrini is a teacher too, who loves to use his records and concerts to draw his audience into thrilling themes. This Roman is well-placed to know just how much history – and musical history is no exception here – is made up of strata which build up over each other, creating a jumble which can be anarchic, but which always drives invention. After an album that retells the story of 150 Years of Italian Music (Naïve 1994), and then another dedicated to the beginnings of Italian baroque in 1600 (Naïve 2012), we were treated to an enchanting black pearl, as incongruous as it was strange: Monteverdi - Night. Stories of lovers and Warriors (Naïve 2017) offers a collection of works that celebrate the night. Here is a recording dedicated to the flourishing of instrumental music in the later baroque period around 1700. The new composers who appear in this new work, Locatelli, Mascitti, Vivaldi, Caldara, Durante, Galuppi, Pugnani, were all very famous in their own times, and all went off to bring the good news about this new musical style to the four corners of Europe; they built up a kind of international musical language which would entrance the courts, and music-lovers in their first public concerts. The record bears that joyful playing style characteristic of Rinaldo Alessandrini and his Concerto Italiano, and a virtuosity which is as much a pleasure to behold as the rococo architecture and painting of that flamboyant epoch. © François Hudry/Qobuz
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Klassiek - Verschenen op 9 maart 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama - Gramophone Editor's Choice
The Tenebræ responsories come from an immense collection of polyphonic music for Holy Week, the Officium Hebdomadæ Sanctæ, published by Victoria in 1585, which brings together several pieces written during the twenty years he spent in Rome. The responsories, brought together here, form part of a much longer Tenebræ, which essentially combined the monastic Hours of matins and lauds, for each of the final three days of the Holy Week. One of the characteristic traits of this service consists in the progressive extinguishing of fifteen votive candles until the church is finally plunged into the darkness from which the ceremony draws its name. The responsory is one part of a much broader liturgy, which was for the most part sung in plainsong. The musical richness of Victoria's polyphonic compositions made a striking contrast to this liturgy. Such an effect is harder to effect in concert, or even on a recording, where we are outside the liturgical context: here, we have uninterrupted polyphony. While the music is very varied, the uninterrupted use of the same mode and the same textures in three or four pieces throughout these 18 Responsories could, at times, give the impression that one is listening to a single piece. To counteract that impression, here and there the Stile Antico vocal ensemble has introduced extracts from readings of the Lamentations, sung in plainsong at the end of each Responsory. And so the contrast is restored. The programme closes with the luminous and oh-so-soothing six-voice motet for Holy Week O Domine Jesu Christi, again published in Rome in 1576. © SM/Qobuz
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Klassiek - Verschenen op 4 november 2014 | Alpha

Hi-Res Booklet Onderscheidingen 4F de Télérama - 4 étoiles Classica
HI-RES€ 14,49
CD€ 9,99

Klassiek - Verschenen op 1 maart 2012 | Cypres

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
HI-RES€ 16,99
CD€ 14,49

Klassiek - Verschenen op 18 maart 2016 | deutsche harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
HI-RES€ 16,49
CD€ 10,99

Klassiek - Verschenen op 2 oktober 2015 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica
HI-RES€ 14,49
CD€ 9,99

Klassiek - Verschenen op 4 september 2015 | Alia Vox

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
HI-RES€ 17,99
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Wereldlijke vocale muziek - Verschenen op 31 mei 2017 | PentaTone

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice
The Carnival of Venice in 1729 was quite unlike any other. Over a period of two months, opera houses went into a frenzy of competition to show off the most famous singers of the day, including the legendary castrato Farinelli who made his astonishing Venetian debut. Several of the most fashionable composers rose to the occasion, writing ravishing music for spectacular productions which often pitted the singers against each other in breathtaking displays of virtuosity. The results were sensational; one tour de force followed another in an atmosphere of fevered excitement and the adoring public lapped it up. The carnival opened with a star-studded cast in Leonardo Leo’s tragedy Cantone in Utica from which the dazzling aria Soffre talor del vento and the more gentle Ombra adorata are taken. Farinelli triumphed in Nicolo Porpora’s opera Semiramide, the perfect vehicle for his extraordinary technique. By contrast Adelaide by Giuseppe Maria Orlandini, another premiere, contains show-stopping displays for Farinelli’s arch rival Faustina Bordoni. And Germiano Giacomelli’s elegant opera Gianguir contains the achingly beautiful aria Mi par sentir la bella. Most of these rediscovered works are recorded here for the first time. (c) Pentatone