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Masses, Passions, Requiems - Released October 19, 2018 | Glossa

Hi-Res Booklet Distinctions Diapason d'or - Le Choix de France Musique - 5 étoiles de Classica
The modern-day appreciation of Francesco Bartolomeo Conti takes a decisive turn in the direction of his church music with this early eighteenth-century composer’s Missa Sancti Pauli given an ideal recording on Glossa by György Vashegyi, the Purcell Choir and Orfeo Orchestra. Conti was a Florentine who worked for much of his career in the Imperial Court in Vienna, generating much attention there – the ever-observant Johann Sebastian Bach and Zelenka were both known to have been attracted by his music. Curiously, it was liturgical works like this 1715 Missa Sancti Pauli which kept Conti’s name known until near to the end of the nineteenth century rather than the operas, oratorios and cantatas with which he delighted the Viennese Court and which have hitherto been receiving the attention of artists and record labels today. If Conti’s church music is less fledgling Classical than his dramatic fare, there is much in the way of melodic tunefulness and concertato style – for both voices and instruments – to combine with fugalimitative writing reminiscent of the “stile antico”. The work is a “Credo Mass” (both Mozart and Beethoven were to write examples of this genre, with its rondolike restatement of the word in the Credo section. The tone, control, presence and unity of the Purcell Choir have been amply demonstrated already on Glossa in music of the French Baroque – Rameau and Mondonville in particular – and the singers are given full opportunity to shine in Conti’s mass – as are the orchestra, comprised mainly of strings, and the vocal soloists, who include Adriána Kalafszky, Péter Bárány, Zoltán Megyesi and Thomas Dolié. Bárány and Megyesi are also soloists in two additional works: the motet, Fastos caeli audite and the aria Pie Jesu, ad te refugio. © Glossa

Full Operas - Released April 5, 2019 | Glossa

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
With Les Indes galantes by Jean-Philippe Rameau, György Vashegyi – along with his Orfeo Orchestra and Purcell Choir – makes a further dazzling addition to their Glossa series of French dramatic masterpieces from the Baroque, and in the company of a luxurious line-up of vocal soloists. The version of this “ballet heroïque” – supplied with an anti-colonial, anti-clerical manifesto by librettist Louis Fuzelier – selected by Vashegyi is the 1761 revision, a mere decade or so before the irruption onto the Parisian musical scene of the likes of Gluck and Grétry. Rameau’s score had undergone frequent adjustments and improvements since its première a quarter of a century earlier, and the performing edition for this recording, prepared for the Rameau Opera Omnia by Sylvie Bouissou (who also provides a booklet essay here), offers a vision of this work which is more theatrical, fluid and concise than hitherto. Just in themselves, the names of Chantal Santon-Jeffery, Katherine Watson, Véronique Gens, Reinoud Van Mechelen, Jean-Sébastien Bou and Thomas Dolié (sharing out the dozen solo roles) augur well for a glorious exploration of the prologue and three entrées ahead. Recently, they have also, in conjunction with the Centre de Musique Baroque de Versailles, been working on questions of tempo and how to perform Rameau’s sequences as the composer intended. Vashegyi brings a consummate understanding of Rameau’s galante style to the proceedings, following two previous Ramellian Glossa outings (Naïs and Les Fêtes de Polymnie). © Glossa

Full Operas - Released January 20, 2017 | Glossa

Hi-Res Booklet Distinctions 5 de Diapason - Qobuzissime

Ballets - Released January 27, 2015 | Glossa

Hi-Res Booklet Distinctions Diapason d'or

Symphonies - Released June 19, 2020 | Accent

Hi-Res Booklet
Composed in 1761, the year Joseph Haydn became the court musician for the Esterházy Family (with whom he stayed for more than thirty years), Symphonies No. 6, 7 and 8 form a unique trilogy in the history of music and are, according to musicologist Marc Vignal, Haydn's first masterpieces in this field and probably even for symphonies in general. Haydn put all his theory and know-how into the compositions, at a time when he was still being tested by the Prince, having to meet overwhelming specifications that would give any musician today nightmares. In these three gems of concise, virtuosic composing, Haydn distributes solos to all the musicians of the orchestra, including the double bass and bassoon, instruments which were not accustomed to this kind of exercise. It is a fiesta of sonic garlands, as found in the ancient baroque "concerto grosso", alternating with dark, deeply moving passages. The subtitles, the only ones Haydn himself gave to his symphonies, "Le Matin", "Le Midi", "Le Soir", were suggested and even commissioned by Prince Paul Anton to describe an allegory of the "Hours of the Day" and, above all, the three stages of life. Recorded in 2019 in the splendid Apollo Hall of Eszterháza Castle in Fertöd, where Haydn wrote many symphonies (though not these ones), this recording by the Orfeo Orchestra of Budapest - not to be confused with the Orpheus Chamber Orchestra - conducted by György Vashegyi obviously has an undeniably authentic feel. © François Hudry/Qobuz

Classical - Released July 1, 2014 | Carus