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Opera - Verschijnt op 22 maart 2019 | Opera Rara

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Opera - Verschenen op 8 maart 2019 | Naxos

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Opera - Verschenen op 19 oktober 2018 | Glossa

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In Baroque opera the dramatic figure of Gaius Julius Caesar received a considerable amount of attention from librettists and composers alike, and not just from G.F. Handel working with Nicola Francesco Haym. With “Giulio Cesare, a Baroque hero”, Raffaele Pe creates a full recital devoted to the Ancient Roman warrior and Dictator of the Republic, drawn from operas spanning the length of the eighteenth century. With refined musicality and artistry the countertenor Pe (who has appeared on a number of recent recordings on Glossa, including the “A due alti” recital with La Venexiana) approaches roles demonstrating contrasting personality traits of the Caesar who was capable not only of heroic acts but also of compassion, of amorous exhilaration, of physical and emotional fragility. The sweep of the eighteenth century encompassed by these compositions also embraced the onstage heyday of the castratos: including Felice Salimbeni, Senesino, Cusanino, Sciroletto and Gasparo Pacchiarotti – demanding from Raffaele Pe great agility in covering both contralto and soprano castrato tessituras. Alongside excerpts from Handel’s Giulio Cesare in Egitto there are arias from works which Pe has been working on to provide modern performing scores together with scholar Valentina Anzani (who provides a historic survey of Caesar in Baroque opera in the accompanying essay), such as by Carlo Francesco Pollarolo, Niccolò Piccinni, Geminano Giacomelli and Francesco Bianchi. Pe is accompanied here by La Lira di Orfeo directed by Luca Giardini (a long-year member of Fabio Biondi’s Europa Galante) in this their debut recording. © Glossa
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Opera - Verschenen op 12 oktober 2018 | Orfeo

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Opera - Verschenen op 6 augustus 1993 | Viennasound

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Opera - Verschenen op 20 juli 2018 | IBS Classical

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Opera - Verschenen op 1 juni 2018 | Halle Concerts Society

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Opera - Verschenen op 16 februari 2018 | Timpani

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Poor Adam… With the exception of his ballet Gisèle, which still serves as a musical support for many performances on various scenes around the world, Le Postillon de Longjumeau is very rarely performed – and Minuit, Chrétiens (who knows if it’s from him?) –, Adam is on the sidelines. Despite his 45 comic operas and more than 15 ballets that were performed from London to Saint Petersburg, his name hasn’t left a mark for posterity. In fact, he even said it himself: “I have no other ambition for my theatre music than to create something clear, easy to understand and amusing for the audience. I can only make a little music. So I do the best I can, and in the way I know how, waiting for the moment when the public loses interest in me and I stop writing.” In this respect, the present comic opera Le Chalet is a little gem of lightness and amusement: Adam was a talented composer, with great verve and charm, who fully mastered the art of “memorable motifs”, the ones you hum right after the show, the musical equivalent of a bon mot in theatre, and – according to Bizet who knew a thing or two about composing for an audience − ” the only way a composer has to make himself understood by a modern audience.” With great finesse, Adam’s partition is faithful to the atmospheres and effects suggested in Scribe’s libretto. The efficient dramatic progressions are the sign of an unwavering theatrical sensibility. His rapid success and writing talents brought out jealousy in Adam, even the acrimony of his peers − particularly Berlioz − who criticised his convenience and “vulgarity”, accusing him of pandering to popular tastes. But in fact, Adam was a master of musical seduction and performed it the right way. His pleasant music consciously charms the listener with great elegance, refinement and savoir-faire. Labelled as a “comic opera”, Le Chalet is in fact a blend of several genres. Its style draws from the Théâtre du Vaudeville, which the young Adam frequented and supplied under various pseudonyms. Furthermore Le Chalet can be considered as a precursor of the operetta – as it seems to have influenced Offenbach in his early days… So why not enjoy it? A dazzling stage, a dedicated orchestra, wonderful dialogues: this work has all the ingredients to be discovered in the best possible light. © SM/Qobuz
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Opera - Verschenen op 13 oktober 2017 | Navona

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Opera - Verschenen op 22 september 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen 4 étoiles de Classica
The pianists are perhaps the most exotic of all the creatures in the Carnival of the Animals. A very rare and treasurable pairing has been made by Warner Classics for this new recording of Saint-Saëns’ enchantingly witty suite: Martha Argerich, often described as the world’s finest example of the pianist species, and Antonio Pappano, a particularly fine specimen of the conductor-pianist. Beside such natural wonders as the graceful swan, the mighty lion, the waltzing elephant, the iridescent denizens of the aquarium and the rattling fossils, the pianists are the prize exhibits of the Carnival, bringing their colour and virtuosity to all but one of its fourteen movements. Their big solo moment comes towards the end of proceedings as they relentlessly practise their scales, which are punctuated with peremptory chords from the strings. Argerich and Pappano met in Italy for the recording – not in Venice, the city of Carnival, but in Rome, where, since 2005, Pappano has been Music Director of the Orchestra dell'Accademia Nazionale di Santa Cecilia. Nine of its players partner the two star pianists in Saint-Saëns’ suite. In 2012, when Argerich performed Schumann’s Piano Concerto with the Orchestra dell’Accademia Nazionale di Santa Cecilia, Pappano told Euronews that he was “just knocked over by the amount of energy that she has, but actually what she does is always extremely natural, as if the music can’t go any other way.” Argerich’s daughter, Annie Dutoit also makes a contribution to the Carnival: she recites verses written for the piece by the French actor, singer, humorist Francis Blanche (1921-1974). The Carnival shares the album release with another of Saint-Saëns’ most celebrated works, the magnificent Symphony No. 3. The prominent organ part is played by Daniele Rossi. Both the Carnival and the Symphony No. 3 were composed in the same year, 1886, but their aesthetics could hardly be more different. In Spring 2016 the Symphony No. 3 featured on a European tour that Pappano made with the Orchestra dell'Accademia Nazionale di Santa Cecilia. In Germany, the Hamburger Abendblatt reported that the audience responded to the performance of the symphony with “euphoria …stamping on the ground and calling for two encores,” while the Frankfurter Rundschau wrote that “under Pappano’s inspiring direction the Italian musicians captured the reverential, ethereal atmosphere [of the first movement’s Poco adagio] with the same precision as the circus-like uproar of its combined instrumental masses [in the Allegro finale].” This was the last symphony that Saint-Saëns composed, though he lived for a further 35 years. When asked why, he responded: "With it I have given all I could give. What I did I could not achieve again." © Warner
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Opera - Verschenen op 15 september 2017 | Warner Classics

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte
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Opera - Verschenen op 15 september 2017 | Warner Classics

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Opera - Verschenen op 15 september 2017 | Warner Classics

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Opera - Verschenen op 15 september 2017 | Warner Classics

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Opera - Verschenen op 15 september 2017 | Warner Classics

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Opera - Verschenen op 15 september 2017 | Warner Classics

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Opera - Verschenen op 15 september 2017 | Warner Classics

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Opera - Verschenen op 15 september 2017 | Warner Classics

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Opera - Verschenen op 15 september 2017 | Warner Classics

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