Anime Immortali

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At the height of a superb career, Franco Fagioli devoted his last album to the composer he had held in high esteem since his childhood: That composer was Mozart, to whom he devoted his mastery of the Bel Canto baroque origins and his delightful warm, rich and surprisingly wide ranging voice. It was through this repertoire that the Argentinian counter-tenor chose to develop the new album’s programme. Recorded in the autumn of 2020, he had the knowledgeable and attentive support of Daniel Bard who conducted the Basel Chamber Orchestra and his old instruments.
By taking lessons from a castrato, the young Mozart had acquired an exceptional knowledge of the human voice. Familiar with the particular techniques and requirements of this genre of singer, he often took the opportunity to write for these exceptional artists, who were experiencing their last moment of glory at the time. The charm of his early works can be found in the two La Finta Giardiniera (1775) arias. The first "dramma giocoso" of this genius is a blend of comedy and great opera seria arias, such as those of Cavaliere Ramiro: the charming aria di Paragone "Se l'augellin sen fugge" is evocative of bird song while the “Va pure ad altri in braccio” manifests the fury of a scorned lover.

For his last opera, La Clemenza di Tito (1791), Mozart once again had first-class “primo musico” at his disposal. As a result, he was able to offer the character of Sesto a poignant, virtuoso role, dynamic and including two significant arias: the "Parto, parto" where the voice converses beautifully with the accompanying clarinet, and the "Deh per questo istante solo,” an expressive and virtuosic Allegro. The extract from the “Davide Penitente” cantata, created in 1785, also demonstrates as much grace as it does technical prowess. In 1772, Mozart composed the role of Cecilio in Lucio Silla for a castrato he had a particular admiration for. Venanzio Rauzzini had a soft and flexible voice with an extensive range, a sought-after quality for the “Ah se a morir mi chiama” aria, which is as difficult as it is introspective. In 1773, in Milan, it was this same interpreter that created the “Exsultate jubilate” motet whose famous “Alleluia” includes triumphant vocals which complete this recording brilliantly. © Julia Le Brun/Qobuz