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Classical - Released September 9, 2013 | naïve classique

Hi-Res Booklet Distinctions Diamant d'Opéra Magazine - Choc de Classica - Choc Classica de l'année - Hi-Res Audio
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Vocal Music (Secular and Sacred) - Released September 29, 2014 | naïve classique

Hi-Res Booklet Distinctions Diamant d'Opéra Magazine - 4 étoiles de Classica - 5 Sterne Fono Forum Klassik
Argentine countertenor Franco Fagioli has emerged as one of the rising figures in that hot field, seemingly with the Italian opera of the first half of the 18th century as a specialty. As such, he might be particularly well represented by this collection of arias by Nicola Porpora, whose activities cut across a cross section of important activities in the century's second quarter. He was the teacher of both Haydn and Farinelli. He snagged many of Pietro Metastasio's high-tragedy opera seria libretti for himself and set them with suitably florid music, but he also had a considerable for sheer melody that's on display in this well-chosen program. Fagioli is not an exceptionally powerful countertenor, but he's capable of sheer smoothness of line that's appropriate to Porpora, who was called the greatest teacher of singers among composers, and the greatest composer among teachers of singing. He gets excellent support from the sparse but extremely sensitive Academia Montis Regalis under Alessandro de Marchi, and he makes a strong entry in the continuing case that Porpora ought to be ranked among the operatic greats. A countertenor release that can be recommended for pure melodic beauty.
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Full Operas - Released November 2, 2018 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Gramophone Editor's Choice - 5 étoiles de Classica

Classical - Released September 30, 2013 | naïve classique

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Classical - Released February 1, 2011 | Carus

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Argentine countertenor Franco Fagioli first came to wide public attention when he won the 2003 International Singing Contest Neue Stimmen and recorded his first solo album the same year. In this 2010 release, Canzone e Cantate, Fagioli displays an even more secure technique and a broader expressive range. His voice has darkened (in contrast to the prevailing trend for light tone exemplified by countertenors like Philippe Jaroussky) and expanded its tonal colors. His use of vibrato is freer than is typical for this repertoire, giving his voice an almost bel canto bravura quality in the more dramatic arias, which listeners, depending on their tastes, may or may not find appealing, but it is certainly striking. Fagioli has chosen a diverse program ranging from early Baroque songs by Frescobaldi, Monteverdi, and Benedetto Ferrari to solo cantatas by Handel and Vivaldi and a late 18th century aria by Paisiello. He is joined very capably by lutenist Luca Pianca, cellist Marco Frezzato, and harpsichordist Jörg Halubek. The album feels more like a collaborative venture than a traditional solo recital with accompaniment and includes a harpsichord prelude by Handel, an anonymous courante for lute, and a trio sonata by Geminiani. This expressive repertoire offers ample opportunities for each performer's individuality to shine, and the results are delightful. Carus' sound is clean, detailed, and warmly intimate.
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Classical - Released November 2, 2018 | Deutsche Grammophon (DG)

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Classical - Released January 12, 2018 | Deutsche Grammophon (DG)

Booklet
The Argentine countertenor Franco Fagioli, with his mighty voice, has always been easy to imagine as one of the castrati with whom Handel contended at the height of his operatic career. He brings both power and flair to fast passagework, and that doesn't change here in such arias as Venti, turbine, prestate, from Rinaldo, HWV 7a. What's different this time is the expertise Fagioli brings to the slow numbers. For the most part, Fagioli does not essay unusual repertory here, except in the final Ch'io parta?, from Partenope, HWV 27, which elegantly ends the program on a question and frames the whole thing nicely with the opening aria from Oreste, HWV A11. For the most part, though, Fagioli sticks to familiar territory, and he lays claim to it. Sample the intense but understated performance of Ombra mai fu, from Act One of Serse, HWV 40, which seems to allude to its suppressed emotion rather than laying it on the line. The historical-instrument group Il Pomo d'Oro, here under violinist Zefira Valova, is sensitive to Fagioli's moods, even if Deutsche Grammophon's sound from Lonigo's Villa San Fermo is too chilly. A highly recommended prime-of-career release from Fagioli.