Franco Fagioli is an Argentinan operatic countertenor who possesses a three-octave range. He began his musical education with piano lessons, though he also pursued vocal studies at the Instituto Superior de Arte at the Teatro Colón in Buenos Aires. He was urged by Ricardo Yost, Celina Lis, and Annelise Skovmand to concentrate on training as a countertenor. In 2003, he won the Bertelsmann “Neue Stimmen” Award, and began singing in international opera productions and at festivals, performing with conductors Riccardo Muti, Nikolaus Harnoncourt, René Jacobs, Marc Minkowski, and Christophe Rousset, among others. He has appeared in major countertenor roles, in such operas as Handel's Giulio Cesare, Ariodante, and Teseo; Gluck's Orfeo ed Euridice; and Monteverdi's Il ritorno d’Ulisse in patria and L’incoronazione di Poppea. Exploiting his uppermost tessitura, Fagioli has explored the castrato repertoire of Gaetano Majorano, called Caffarelli, the rival of the famous Farinelli, and music sung by the last of the operatic castrati, Giambattista Velluti.
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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.
Classical - Released February 1, 2011 | Carus
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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