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Max Emanuel Cencic - Nicola Porpora : Opera Arias

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Nicola Porpora : Opera Arias

Max Emanuel Cencic, Armonia Atenea, George Petrou

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Nowadays it might seem rather strange to describe a composer as a “singing master”, but, during the eighteenth century, this was not the case at all. In Italy, almost every composer worthy of the name wrote opere serie (Porpora wrote at least forty- ve): serious opera was the dominant musical genre, glorifying the human voice above everything else. It was the maker or breaker of musical reputations, with its nest singers the rst superstars of music. Therefore composers, though generally eclipsed by the fame of their leading men and women, needed to understand the human voice and all its remarkable capabilities, both technical and histrionic, in order to be able to exploit the possibilities of the operatic form at a time when those “machines made for singing”, the castrati, had brought the vocal art to a pitch of perfection never known before, nor equalled since.

Though this recording is bringing Porpora’s name to public attention again on the 250th anniversary of his death, his fame as a singing teacher has probably obscured, until recently, his remarkable qualities as a composer, quite simply because two of the most famous castrati were among his many pupils, namely Gaetano Majorano, known as Caffarelli, whom Porpora once called “the nest singer in Europe”, also famed for his amorous antics and arrogance on- and off-stage, and the even more celebrated Carlo Broschi, who, under his stage name of Farinelli, amazed audiences and set hearts a- utter for fteen years throughout Europe, before being called to Spain to heal a crazed King by the power of his voice. Max Cencic remarks: “Porpora was a severe teacher, I think, maybe almost sadistic in his demands — you need 120% control of breath, brain and voice”. Legend indeed has it that he taught Caffarelli one page of exercises, and those alone, for six years.

The formal alternation of aria and recitative in opera seria conceals a great range of emotional expression, that varietas that Erasmus famously described as “so powerful in every sphere that there is absolutely nothing, however brilliant, which is not dimmed if not commended by variety”. In such forms as the orid aria di bravura or the lyrical aria di sostenuto, the composer’s fantasy only provided a framework for the singer to embroider: the performer’s skill in ornamentation and other emotional devices was of paramount importance. Porpora’s many years of both teaching and composing experience made him, in Max Cencic’s opinion, “one of the top ten composers of Italian Baroque opera. I chose the arias for this recording almost by instinct, by what ‘felt right’. There is no way one can encompass a composer of such quality in one album, and each piece is a treasure in its own right. Though technical display is everywhere — leaps, rapid scales, trills, long phrases — Porpora’s special and utterly captivating melodic gift always shines through.”

The arias are all taken from works composed at the height of Porpora’s fame, from Ezio (Venice 1728; “Se tu la reggi al volo” is a semiquaver spectacular) to Filandro (Dresden 1747, with a ravishing siciliano in “Ove l’erbetta tenera, e molle”), including three of the operas he composed for London during the 1730s, in direct competition with Handel (Arianna in Nasso 1733, Enea nel Lazio 1734 — real reworks here in “Chi vuol salva” — and I genia in Aulide 1735).

The Teatro San Carlo in Naples, perhaps the most famous of all opera houses at that time, saw the premiere of Il trionfo di Camilla in 1740, and the two arias recorded here show Porpora at his best: the music of “Va per le vene il sangue” evocatively matches its darkly suggestive text, while “Torcere il corso all’onde” combines rapid- re coloratura with elegance of line.

In the three arias from Carlo il Calvo (Teatro delle Dame, Rome 1738) the singer is similarly called to match Porpora’s varietas with his own: from the scurrying oriture of “So che tiranno io sono” to the high-lying phrases of “Se rea ti vuole il cielo”, and the beguilingly hypnotic sostenuto of “Quando s’oscura il cielo”.

Porpora’s orchestral writing is also remarkably varied, all the more so in that he generally uses only strings, nowhere better than in the elaborate lines of “Torbido intorno al core” from Meride e Selinunte (Venice 1726), where voice and violins entwine in an elaborate and emotionally suggestive web of divisions. However, sometimes he pulls out all the sonority stops, as in the martial “Destrier, che all’armi usato” where, at the rst performance in the Teatro Regio, Turin in 1731 trumpets and horns vied with the unmatchable power of the voice of Farinelli. As Max Cencic has said: “How can we emulate the great castrati? That is hard to pin down, but these voices were the very soul of Porpora’s music.” -Nicholas Clapton © 2018 – Decca Group Limited

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Nicola Porpora : Opera Arias

Max Emanuel Cencic

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Ezio / Act 1 (Nicola Porpora)

1
"Se tu la reggi al volo"
Max Cencic
00:03:52

Nicola Porpora, Composer - Pietro Metastasio, Author - Armonia Atenea, Orchestra, MainArtist - George Petrou, Conductor, MainArtist - Giovanni Prosdocimi, Producer, Recording Producer - Max Cencic, Counter-Tenor, MainArtist, AssociatedPerformer - Florent Ollivier, Recording Engineer, StudioPersonnel

℗ 2018 Parnassus Arts Productions, Under Exclusive Licence to Decca Music Group Ltd

Meride e Selinunte / Act 2 (Nicola Porpora)

2
"Torbido intorno al core"
Max Cencic
00:07:38

Nicola Porpora, Composer - Apostolo Zeno, Author - Armonia Atenea, Orchestra, MainArtist - George Petrou, Conductor, MainArtist - Giovanni Prosdocimi, Producer, Recording Producer - Max Cencic, Counter-Tenor, MainArtist, AssociatedPerformer - Florent Ollivier, Recording Engineer, StudioPersonnel

℗ 2018 Parnassus Arts Productions, Under Exclusive Licence to Decca Music Group Ltd

Ifigenia in Aulide (Nicola Porpora)

3
"Tu spietato non farai"
Max Cencic
00:04:19

Nicola Porpora, ComposerLyricist - Armonia Atenea, Orchestra, MainArtist - George Petrou, Conductor, MainArtist - Giovanni Prosdocimi, Producer, Recording Producer - Max Cencic, Counter-Tenor, MainArtist, AssociatedPerformer - Florent Ollivier, Recording Engineer, StudioPersonnel

℗ 2018 Parnassus Arts Productions, Under Exclusive Licence to Decca Music Group Ltd

Filandro / Act 1 (Nicola Porpora)

4
"Ove l'erbetta tenera, e molle"
Max Cencic
00:05:52

Nicola Porpora, Composer - Armonia Atenea, Orchestra, MainArtist - George Petrou, Conductor, MainArtist - Max Cencic, Counter-Tenor, MainArtist, AssociatedPerformer - Florent Ollivier, Producer, Recording Engineer, Recording Producer, StudioPersonnel - Vincenzo Cassani, Author

℗ 2018 Parnassus Arts Productions, Under Exclusive Licence to Decca Music Group Ltd

Poro / Act 2 (Nicola Porpora)

5
"Destrier, che all' armi usato"
Max Cencic
00:06:28

Nicola Porpora, Composer - Pietro Metastasio, Author - Armonia Atenea, Orchestra, MainArtist - George Petrou, Conductor, MainArtist - Max Cencic, Counter-Tenor, MainArtist, AssociatedPerformer - Florent Ollivier, Producer, Recording Engineer, Recording Producer, StudioPersonnel

℗ 2018 Parnassus Arts Productions, Under Exclusive Licence to Decca Music Group Ltd

Enea nel Lazio (Nicola Porpora)

6
"Chi vuol salva la patria e l'onore"
Max Cencic
00:03:56

Nicola Porpora, Composer - Paolo Antonio Rolli, Author - Armonia Atenea, Orchestra, MainArtist - George Petrou, Conductor, MainArtist - Max Cencic, Counter-Tenor, MainArtist, AssociatedPerformer - Florent Ollivier, Producer, Recording Engineer, Recording Producer, StudioPersonnel

℗ 2018 Parnassus Arts Productions, Under Exclusive Licence to Decca Music Group Ltd

Il Trionfo di Camilla / Act 2 (Nicola Porpora)

7
"Va per le vene il sangue"
Max Cencic
00:07:59

Nicola Porpora, ComposerLyricist - Armonia Atenea, Orchestra, MainArtist - George Petrou, Conductor, MainArtist - Giovanni Prosdocimi, Producer, Recording Producer - Max Cencic, Counter-Tenor, MainArtist, AssociatedPerformer - Florent Ollivier, Producer, Recording Engineer, Recording Producer, StudioPersonnel

℗ 2018 Parnassus Arts Productions, Under Exclusive Licence to Decca Music Group Ltd

Carlo il Calvo / Act 1 (Nicola Porpora)

8
"Se rea ti vuole il cielo"
Max Cencic
00:03:39

Nicola Porpora, Composer - Armonia Atenea, Orchestra, MainArtist - George Petrou, Conductor, MainArtist - Giovanni Prosdocimi, Producer, Recording Producer - Max Cencic, Counter-Tenor, MainArtist, AssociatedPerformer - Florent Ollivier, Recording Engineer, StudioPersonnel

℗ 2018 Parnassus Arts Productions, Under Exclusive Licence to Decca Music Group Ltd

Carlo il Calvo / Act 2 (Nicola Porpora)

9
"Quando s'oscura il cielo"
Max Cencic
00:08:26

Nicola Porpora, Composer - Armonia Atenea, Orchestra, MainArtist - George Petrou, Conductor, MainArtist - Max Cencic, Counter-Tenor, MainArtist, AssociatedPerformer - Florent Ollivier, Producer, Recording Engineer, Recording Producer, StudioPersonnel

℗ 2018 Parnassus Arts Productions, Under Exclusive Licence to Decca Music Group Ltd

Ezio / Act 3 (Nicola Porpora)

10
"Lieto sarò di questa vita"
Max Cencic
00:03:05

Nicola Porpora, Composer - Pietro Metastasio, Author - Armonia Atenea, Orchestra, MainArtist - George Petrou, Conductor, MainArtist - Giovanni Prosdocimi, Producer, Recording Producer - Max Cencic, Counter-Tenor, MainArtist, AssociatedPerformer - Florent Ollivier, Recording Engineer, StudioPersonnel

℗ 2018 Parnassus Arts Productions, Under Exclusive Licence to Decca Music Group Ltd

Carlo il Calvo / Act 3 (Nicola Porpora)

11
"So che tiranno io sono"
Max Cencic
00:04:33

Nicola Porpora, Composer - Armonia Atenea, Orchestra, MainArtist - George Petrou, Conductor, MainArtist - Giovanni Prosdocimi, Producer, Recording Producer - Max Cencic, Counter-Tenor, MainArtist, AssociatedPerformer - Florent Ollivier, Recording Engineer, StudioPersonnel

℗ 2018 Parnassus Arts Productions, Under Exclusive Licence to Decca Music Group Ltd

Il Trionfo di Camilla (Nicola Porpora)

12
"Torcere il corso all'onde"
Max Cencic
00:04:09

Nicola Porpora, ComposerLyricist - Armonia Atenea, Orchestra, MainArtist - George Petrou, Conductor, MainArtist - Max Cencic, Counter-Tenor, MainArtist, AssociatedPerformer - Florent Ollivier, Producer, Recording Engineer, Recording Producer, StudioPersonnel

℗ 2018 Parnassus Arts Productions, Under Exclusive Licence to Decca Music Group Ltd

Filandro (Nicola Porpora)

13
"D'esser già parmi quell'arboscello"
Max Cencic
00:04:56

Nicola Porpora, Composer - Armonia Atenea, Orchestra, MainArtist - George Petrou, Conductor, MainArtist - Max Cencic, Counter-Tenor, MainArtist, AssociatedPerformer - Florent Ollivier, Producer, Recording Engineer, Recording Producer, StudioPersonnel - Vincenzo Cassani, Author

℗ 2018 Parnassus Arts Productions, Under Exclusive Licence to Decca Music Group Ltd

Arianna in Nasso / Act 1 (Nicola Porpora)

14
"Nume che reggi 'l mare"
Max Cencic
00:06:58

Nicola Porpora, Composer - Paolo Antonio Rolli, Author - Armonia Atenea, Orchestra, MainArtist - George Petrou, Conductor, MainArtist - Max Cencic, Counter-Tenor, MainArtist, AssociatedPerformer - Florent Ollivier, Producer, Recording Engineer, Recording Producer, StudioPersonnel

℗ 2018 Parnassus Arts Productions, Under Exclusive Licence to Decca Music Group Ltd

Descrizione dell'album

Nowadays it might seem rather strange to describe a composer as a “singing master”, but, during the eighteenth century, this was not the case at all. In Italy, almost every composer worthy of the name wrote opere serie (Porpora wrote at least forty- ve): serious opera was the dominant musical genre, glorifying the human voice above everything else. It was the maker or breaker of musical reputations, with its nest singers the rst superstars of music. Therefore composers, though generally eclipsed by the fame of their leading men and women, needed to understand the human voice and all its remarkable capabilities, both technical and histrionic, in order to be able to exploit the possibilities of the operatic form at a time when those “machines made for singing”, the castrati, had brought the vocal art to a pitch of perfection never known before, nor equalled since.

Though this recording is bringing Porpora’s name to public attention again on the 250th anniversary of his death, his fame as a singing teacher has probably obscured, until recently, his remarkable qualities as a composer, quite simply because two of the most famous castrati were among his many pupils, namely Gaetano Majorano, known as Caffarelli, whom Porpora once called “the nest singer in Europe”, also famed for his amorous antics and arrogance on- and off-stage, and the even more celebrated Carlo Broschi, who, under his stage name of Farinelli, amazed audiences and set hearts a- utter for fteen years throughout Europe, before being called to Spain to heal a crazed King by the power of his voice. Max Cencic remarks: “Porpora was a severe teacher, I think, maybe almost sadistic in his demands — you need 120% control of breath, brain and voice”. Legend indeed has it that he taught Caffarelli one page of exercises, and those alone, for six years.

The formal alternation of aria and recitative in opera seria conceals a great range of emotional expression, that varietas that Erasmus famously described as “so powerful in every sphere that there is absolutely nothing, however brilliant, which is not dimmed if not commended by variety”. In such forms as the orid aria di bravura or the lyrical aria di sostenuto, the composer’s fantasy only provided a framework for the singer to embroider: the performer’s skill in ornamentation and other emotional devices was of paramount importance. Porpora’s many years of both teaching and composing experience made him, in Max Cencic’s opinion, “one of the top ten composers of Italian Baroque opera. I chose the arias for this recording almost by instinct, by what ‘felt right’. There is no way one can encompass a composer of such quality in one album, and each piece is a treasure in its own right. Though technical display is everywhere — leaps, rapid scales, trills, long phrases — Porpora’s special and utterly captivating melodic gift always shines through.”

The arias are all taken from works composed at the height of Porpora’s fame, from Ezio (Venice 1728; “Se tu la reggi al volo” is a semiquaver spectacular) to Filandro (Dresden 1747, with a ravishing siciliano in “Ove l’erbetta tenera, e molle”), including three of the operas he composed for London during the 1730s, in direct competition with Handel (Arianna in Nasso 1733, Enea nel Lazio 1734 — real reworks here in “Chi vuol salva” — and I genia in Aulide 1735).

The Teatro San Carlo in Naples, perhaps the most famous of all opera houses at that time, saw the premiere of Il trionfo di Camilla in 1740, and the two arias recorded here show Porpora at his best: the music of “Va per le vene il sangue” evocatively matches its darkly suggestive text, while “Torcere il corso all’onde” combines rapid- re coloratura with elegance of line.

In the three arias from Carlo il Calvo (Teatro delle Dame, Rome 1738) the singer is similarly called to match Porpora’s varietas with his own: from the scurrying oriture of “So che tiranno io sono” to the high-lying phrases of “Se rea ti vuole il cielo”, and the beguilingly hypnotic sostenuto of “Quando s’oscura il cielo”.

Porpora’s orchestral writing is also remarkably varied, all the more so in that he generally uses only strings, nowhere better than in the elaborate lines of “Torbido intorno al core” from Meride e Selinunte (Venice 1726), where voice and violins entwine in an elaborate and emotionally suggestive web of divisions. However, sometimes he pulls out all the sonority stops, as in the martial “Destrier, che all’armi usato” where, at the rst performance in the Teatro Regio, Turin in 1731 trumpets and horns vied with the unmatchable power of the voice of Farinelli. As Max Cencic has said: “How can we emulate the great castrati? That is hard to pin down, but these voices were the very soul of Porpora’s music.” -Nicholas Clapton © 2018 – Decca Group Limited

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