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Opera - Verschenen op 6 maart 2020 | Alpha

Hi-Res Booklet Onderscheidingen 5 de Diapason
The multitude of incomplete manuscripts of so many baroque operas and oratorios offers a very tempting playground for today's performers and musicologists. However, it is quite rare for a 21st century artist to compose an entire act from scratch. This was what has happened with El Prometeo by Italian composer Antonio Draghi, who was active at the Habsburg court in Vienna. Composed in 1669, it is one of the few operas from that time written in Castilian, which gives this discovery a vital historical importance. Draghi is a direct heir to Monteverdi and Cavalli, whose works he sang in his youth and whose style he carried forward. As was the style in his day, his music is made up of a deft mixture of comic scenes. This was a tradition that would stretch all the way down to Mozart, via the Jommelli operas that the young composer so admired. Convinced that what he had discovered was the complete manuscript, Leonardo García Alarcón had found himself trapped when he realised his mistake just as the work was due to open at the Dijon Opera. So he was obliged to either cancel the production, or to assemble other works into a "pasticcio" of the style of the 18th century. The conductor wasn't paralysed by the fear of a blank page: he put himself into Draghi's shoes to compose a whole third act: the densest, most dramatic part of the artwork, the original of which was irretrievably lost. Going beyond mere plagiarism, García Alarcón had some fun, paying tribute to Austrian opera, borrowing from Draghi of course, but also from Cesti, Caldara, and all the way up to Mozart. The result of this tour de force is a perfect illusion: his assimilation of different styles allows him to create music that's inspired by and in perfect harmony with the rest of the score. The Namur Chamber Choir, the many soloists and the bewitching colours of the Cappella Mediterranea all contribute greatly to a production whose success you can feel on this new album. © François Hudry/Qobuz
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Klassiek - Verschenen op 25 september 2012 | Ambronay Éditions

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Klassiek - Verschenen op 24 september 2009 | Ambronay Éditions

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Klassiek - Verschenen op 12 oktober 2018 | Alpha

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Klassiek - Verschenen op 23 september 2013 | Ambronay Éditions

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Vocale muziek (wereldlijk en religieus) - Verschenen op 22 augustus 2006 | Almaviva

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Klassiek - Verschenen op 12 oktober 2018 | Alpha Classics

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Klassiek - Verschenen op 23 augustus 2016 | Alpha Classics

Hi-Res Booklet
Passions run high in the operas and madrigals of Claudio Monteverdi, and they dominate Capella Mediterranea's 2016 release on Alpha-Classics, I 7 Peccati Capitali (The Seven Deadly Sins). Interpreted here as the seven deadly sins of sloth, envy, pride, greed, gluttony, lust, and wrath, and accompanied by corresponding virtues listed as hope, extravagance, chastity, humility, temperance, charity, and courage, the excerpts from Monteverdi's L'Incoronazione di Poppea, Il Ritorno d'Ulisse in Patria, and Orfeo, along with selections from Selva morale e spirituale, Ariose Vaghezze, and the Libri dei Madrigali, provide representations of 17th century morality and key examples of Monteverdi's seconda pratica, described by the group's leader, Leonardo García Alarcón, as "the rationalisation of emotions through music, and a meditation on human vanity." The intensely dramatic performances by this ensemble of six singers, joined by a consort playing period instruments, give an idea of the wide expressive range Monteverdi employed in his music and the theatricality and virtuosity of his artists. This extraordinary album was released in anticipation of the 450th anniversary of Monteverdi's birth, and the enthusiasm and high energy of Capella Mediterranea's performances suggest that their celebrations in 2017 will be quite lively and entertaining. © TiVo
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Klassiek - Verschijnt op 24 september 2021 | Alpha Classics

Hi-Res Booklet