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Opera - Verschenen op 31 mei 2019 | Halle Concerts Society

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Opera - Verschenen op 17 mei 2019 | Halle Concerts Society

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Opera - Verschenen op 24 mei 2019 | Halle Concerts Society

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Opera - Verschenen op 17 oktober 2016 | Bahadırhan Koçer

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Opera - Verschenen op 23 juni 2016 | Play Entertainment Corp

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Opera - Verschenen op 8 april 2019 | Classic Fox Records

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Operafragmenten - Verschenen op 29 september 2014 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Opera - Verschenen op 5 februari 2016 | Naxos

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Opera - Verschenen op 8 maart 2019 | Naxos

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Operafragmenten - Verschenen op 15 juli 2013 | naïve classique

Hi-Res Booklet Onderscheidingen Timbre de platine - Gramophone Editor's Choice - Hi-Res Audio
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Opera - Verschenen op 27 november 2007 | Naxos

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Operafragmenten - Verschenen op 10 januari 2011 | Warner Classics

Hi-Res Booklet Onderscheidingen 5 de Diapason - Hi-Res Audio
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Opera - Verschenen op 30 september 2016 | Opera Discovery

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Volledige opera's - Verschenen op 25 november 2011 | Indésens

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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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 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 20 juli 2018 | IBS Classical

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Opera - Verschenen op 9 september 2016 | Orfeo

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Volledige opera's - Verschenen op 1 februari 2009 | BIS

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