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Ann Hallenberg|Carnevale 1729

Carnevale 1729

Stefano Montanari, Il Pomo d'Oro, Ann Hallenberg

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Where to begin listing the virtues of this gorgeous double-CD release by mezzo-soprano Ann Hallenberg? Perhaps with the unique programming concept, re-creating the operas staged during Carnival season in the year 1729 in Venice, a special year because all the big stars of Italian opera had come back home after disagreements with their impresario, Handel, in England. The arias, written for the likes of the castrato Senesino and the soprano Faustina Bordoni, have all the technical fireworks of the Handel operas of the 1720s that have gained popularity. And consider that the music is virtually unknown, with much of it here receiving its premiere on recordings; much of the research was done by Hallenberg herself, along with her husband, with performers once again leaving musicology in the dust. Is it second-order opera? Hardly, and here you can rely on the opinion of Handel himself, who dropped in to hear this remarkable stretch of music and took some of it back to London to make pastiches out of it. You can stop in anywhere for vocal heroics, but sample one of the more melodic pieces, such as "Bel piacer saria d'un core", from Semiramide riconosciuta of Nicola Porpora, Haydn's teacher. The program is intelligently put together, with most of the pieces grouped together by individual opera, but two altogether fascinating selections from Gianguir, by the all-but-unknown Geminiano Giacomelli framing the arias from Giuseppe Maria Orlandini's Adelaide on CD 1. The sharp, sensitive orchestral work of Il Pomo d'Oro under Stefano Montanari is a major attraction. And last, but certainly not least, is the voice of Hallenberg herself, arguably at its absolute peak, easily tackling arias across a wide range, delivering plenty of power in the big runs and yet entering into each character. Oh, yes, Pentatone's audiophile-quality sound, recorded at the entirely appropriate Villa San Fermo in Lonigo, is superb. Sit back and enjoy, says Pentatone's little logo. Indeed: this is one of those rare recordings that breaks entirely new ground yet remains a pure pleasure, fully realized on its own terms.

© TiVo

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Carnevale 1729

Ann Hallenberg

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Gianguir (Geminiano Giacomelli)

1
Mi par sentir la bella
00:09:43

Ann Hallenberg, Artist, MainArtist - Stefano Montanari, Conductor - Geminiano Giacomelli, Composer - Il Pomo d'Oro, Ensemble

(C) 2017 PENTATONE (P) 2017 PENTATONE

Adelaide (Giuseppe Maria Orlandini)

2
Non sempre invendicata
00:05:39

Ann Hallenberg, Artist, MainArtist - Stefano Montanari, Conductor - Giuseppe Maria Orlandini, Composer - Il Pomo d'Oro, Ensemble

(C) 2017 PENTATONE (P) 2017 PENTATONE

3
O del mio caro sposo... Quanto bello agl'occhi miei
00:15:22

Ann Hallenberg, Artist, MainArtist - Stefano Montanari, Conductor - Giuseppe Maria Orlandini, Composer - Il Pomo d'Oro, Ensemble

(C) 2017 PENTATONE (P) 2017 PENTATONE

4
Scherza in mar la navicella
00:05:45

Ann Hallenberg, Artist, MainArtist - Stefano Montanari, Conductor - Giuseppe Maria Orlandini, Composer - Il Pomo d'Oro, Ensemble

(C) 2017 PENTATONE (P) 2017 PENTATONE

5
Vedrò più liete e belle
00:08:41

Ann Hallenberg, Artist, MainArtist - Stefano Montanari, Conductor - Giuseppe Maria Orlandini, Composer - Il Pomo d'Oro, Ensemble

(C) 2017 PENTATONE (P) 2017 PENTATONE

Gianguir (Geminiano Giacomelli)

6
Vanne, si, di al mio diletto
00:07:12

Ann Hallenberg, Artist, MainArtist - Stefano Montanari, Conductor - Geminiano Giacomelli, Composer - Il Pomo d'Oro, Ensemble

(C) 2017 PENTATONE (P) 2017 PENTATONE

DISCO 2

Filandro (Tomaso Giovanni Albinoni)

1
Il tuo core in dono accetto
00:04:07

Tomaso Giovanni Albinoni, Composer - Ann Hallenberg, Artist, MainArtist - Stefano Montanari, Conductor - Il Pomo d'Oro, Ensemble

(C) 2017 PENTATONE (P) 2017 PENTATONE

2
Fior, ch'a spuntar si vede
00:03:32

Tomaso Giovanni Albinoni, Composer - Ann Hallenberg, Artist, MainArtist - Stefano Montanari, Conductor - Il Pomo d'Oro, Ensemble

(C) 2017 PENTATONE (P) 2017 PENTATONE

Semiramide riconosciuta (Nicola Porpora)

3
Il pastor se torna aprile
00:06:28

Nicola Porpora, Composer - Ann Hallenberg, Artist, MainArtist - Stefano Montanari, Conductor - Il Pomo d'Oro, Ensemble

(C) 2017 PENTATONE (P) 2017 PENTATONE

4
In braccio a mille furie
00:03:04

Nicola Porpora, Composer - Ann Hallenberg, Artist, MainArtist - Stefano Montanari, Conductor - Il Pomo d'Oro, Ensemble

(C) 2017 PENTATONE (P) 2017 PENTATONE

5
Bel piacer saria d'un core
00:08:36

Nicola Porpora, Composer - Ann Hallenberg, Artist, MainArtist - Stefano Montanari, Conductor - Il Pomo d'Oro, Ensemble

(C) 2017 PENTATONE (P) 2017 PENTATONE

Catone in Utica (Leonardo Leo)

6
Soffre talor del vento
00:06:48

Ann Hallenberg, Artist, MainArtist - Leonardo Leo, Composer - Stefano Montanari, Conductor - Il Pomo d'Oro, Ensemble

(C) 2017 PENTATONE (P) 2017 PENTATONE

7
Ombra cara, ombra adorata
00:09:22

Ann Hallenberg, Artist, MainArtist - Leonardo Leo, Composer - Stefano Montanari, Conductor - Il Pomo d'Oro, Ensemble

(C) 2017 PENTATONE (P) 2017 PENTATONE

L'abbandono di Armida (Leonardo Vinci)

8
Nave altera che in mezzo all'onde
00:04:17

Ann Hallenberg, Artist, MainArtist - Stefano Montanari, Conductor - Leonardo Vinci, Composer - Il Pomo d'Oro, Ensemble

(C) 2017 PENTATONE (P) 2017 PENTATONE

Approfondimenti

Where to begin listing the virtues of this gorgeous double-CD release by mezzo-soprano Ann Hallenberg? Perhaps with the unique programming concept, re-creating the operas staged during Carnival season in the year 1729 in Venice, a special year because all the big stars of Italian opera had come back home after disagreements with their impresario, Handel, in England. The arias, written for the likes of the castrato Senesino and the soprano Faustina Bordoni, have all the technical fireworks of the Handel operas of the 1720s that have gained popularity. And consider that the music is virtually unknown, with much of it here receiving its premiere on recordings; much of the research was done by Hallenberg herself, along with her husband, with performers once again leaving musicology in the dust. Is it second-order opera? Hardly, and here you can rely on the opinion of Handel himself, who dropped in to hear this remarkable stretch of music and took some of it back to London to make pastiches out of it. You can stop in anywhere for vocal heroics, but sample one of the more melodic pieces, such as "Bel piacer saria d'un core", from Semiramide riconosciuta of Nicola Porpora, Haydn's teacher. The program is intelligently put together, with most of the pieces grouped together by individual opera, but two altogether fascinating selections from Gianguir, by the all-but-unknown Geminiano Giacomelli framing the arias from Giuseppe Maria Orlandini's Adelaide on CD 1. The sharp, sensitive orchestral work of Il Pomo d'Oro under Stefano Montanari is a major attraction. And last, but certainly not least, is the voice of Hallenberg herself, arguably at its absolute peak, easily tackling arias across a wide range, delivering plenty of power in the big runs and yet entering into each character. Oh, yes, Pentatone's audiophile-quality sound, recorded at the entirely appropriate Villa San Fermo in Lonigo, is superb. Sit back and enjoy, says Pentatone's little logo. Indeed: this is one of those rare recordings that breaks entirely new ground yet remains a pure pleasure, fully realized on its own terms.

© TiVo

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