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Alessandro Scarlatti - Inferno: Cantate drammatiche (Modo Antiquo, Elisabeth Scholl)
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aliomodo
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Date :
04 May 2010 22:23:23
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Alessandro Scarlatti - Inferno: Cantate drammatiche (Modo Antiquo, Elisabeth Scholl)
APE & MP3 + CUE + LOG | TT 65:02 | Artwork @ 300 dpi = 28 mb
APE = 285 mb | MP3 (lame --preset standard) = 93 mb
Recorded 2004 | Released 2006
"One of the best I have heard this year." - Musicweb International
Personnel:
Elisabeth Scholl: soprano
Modo Antiquo - Federico Maria Sardelli
Recording:
16-19 November 2004, Villa Berg, Stuttgart
CPO 777 141-2
Track listing:
Già lusingato appieno
1. Sinfonia
2. Già lusingato appieno Recitativo
3. Cara sposa Aria
4. Recitativo Cada sù l'empie schiere Recitativo
5. Sento l'aura Aria
6. Al trono Recitativo
7. Se v'è mai Aria
8. Disse e baciò la sposa Recitativo/Arioso
Serenata "Notte, ch'in carro d'ombre"
9. Sinfonia Grave-Allegro
10. Notte, ch'in carro d'ombre Recitativo accompagnato
11. Vieni, o notte, in questo petto Aria (largo e piano)
12. E tu ch'ognor ti vanti Recitativo
13. Veloce e labile fugge e dileguasi Recitativo (Allegro)
14. Ma parmi ch'esaudite Recitativo
15. Con l'idea d'un bel gioire Aria(Largo)
16. Ma voi non vi chiudete Recitativo
17. Si, che priva di contento Aria (Allegrissimo)
Il Nerone "Io son Neron, l'imperator del mondo"
18. Io son Neron, l'imperator del mondo Recitativo
19. Vuò che trema Giove ancorna Aria (Andante)
20. Il tirannico cor io non ascondo Recitativo
21. Non stabilisce, no Aria
22. Or coll'abisso istesso Recitativo
23. Veder chi pena Aria
24. Coi furibondi sguardi Recitativo
L'Orfeo "Dall'oscura magion dell'arsa Dite"
25. Introduzione
26. Dall'oscura magion Recitativo
27. Chi m'invola laq cara Euridice Aria
28. Ma di che mi querelo Recitativo
29. Si mirando, occhi perversi Aria
30. Hor, poiché mi tradir Recitativo
31. Sordo il tronco Aria
32. Ah, voi m'abbandonate Recitativo
33. Il vanto del canto Aria
34. Cosi dicendo Recitativo
35. Si,pietà de miei martiri Aria
Info (liner notes):
It is somehow astonishing that Alessandro Scarlatti's (1660-1725) name is known to every music lover. Musicologists praise his oeuvre, a confirmed authorship of more than 600 cantatas, as the climax of baroque cantata composition. However, there is not a specific piece or melody easily associated with Scarlatti. It seems, he was important but forgotten. How is this possible?
Alessandro Scarlatti was not a composer for the masses. As maestro di capella to the Spanish Viceroy in Naples he wrote operas for a court audience not for public opera houses such as those in Venice at that time. And his solo cantatas were meant to entertain illustrious circles such as those around the Roman Cardinals Ottoboni and Pamphili or the Price Ruspoli. These connoisseurs allowed him to display his expressive musical skills, with daring harmonies and chromaticism, which at times even his fellow composers deemed to be too eccentric. They were too complex for common audiences. Nevertheless, the high esteem for Scarlatti's works, especially the cantatas, cannot be due solely to the elaborations of his compositions - his cantatas do exist in numerous copies. The four cantatas recorded here confirm that there is more to those pieces.
Alessandro Scarlatti was not a composer for the masses. As maestro di capella to the Spanish Viceroy in Naples he wrote operas for a court audience not for public opera houses such as those in Venice at that time. And his solo cantatas were meant to entertain illustrious circles such as those around the Roman Cardinals Ottoboni and Pamphili or the Price Ruspoli. These connoisseurs allowed him to display his expressive musical skills, with daring harmonies and chromaticism, which at times even his fellow composers deemed to be too eccentric. They were too complex for common audiences. Nevertheless, the high esteem for Scarlatti's works, especially the cantatas, cannot be due solely to the elaborations of his compositions - his cantatas do exist in numerous copies. The four cantatas recorded here confirm that there is more to those pieces.
Reviews:
Musicweb International
Alessandro Scarlatti is generally considered one of the most important Italian composers of the late 17th and early 18th centuries. But his music, although it has received more attention in recent years, is still largely unknown. This is partly due to the large quantity of his output: in the genre of the chamber cantata alone at least six hundred compositions are with certainty attributable to him. (...)
This disc is a very impressive demonstration of the art of Alessandro Scarlatti. In these splendid cantatas the composer demonstrates his ability to characterise the protagonists with musical means and to depict the text according to the rules of rhetoric and with masterful use of the 'affetti'. Elisabeth Scholl, who also edited these cantatas, wrote the programme notes and translated the lyrics into English, has done an excellent job in every department. Her singing is impressive, and she expresses the feelings of all protagonists with great care. I especially liked her performance of the recitatives, a weak point in many recordings of baroque vocal music. On past showing she has never struck me as a very dramatic singer, but here she proves me wrong. And the combination of Ms Scholl and Modo Antiquo turns out to be a very happy one. In earlier recordings Federico Maria Sardelli has demonstrated his feeling for theatre, and he does so here again.
To sum up: this disc is one of the best I have heard this year. It goes straight into my list of recordings of the year. It is a model of the useful marriage of musicology and splendid music-making.
This disc is a very impressive demonstration of the art of Alessandro Scarlatti. In these splendid cantatas the composer demonstrates his ability to characterise the protagonists with musical means and to depict the text according to the rules of rhetoric and with masterful use of the 'affetti'. Elisabeth Scholl, who also edited these cantatas, wrote the programme notes and translated the lyrics into English, has done an excellent job in every department. Her singing is impressive, and she expresses the feelings of all protagonists with great care. I especially liked her performance of the recitatives, a weak point in many recordings of baroque vocal music. On past showing she has never struck me as a very dramatic singer, but here she proves me wrong. And the combination of Ms Scholl and Modo Antiquo turns out to be a very happy one. In earlier recordings Federico Maria Sardelli has demonstrated his feeling for theatre, and he does so here again.
To sum up: this disc is one of the best I have heard this year. It goes straight into my list of recordings of the year. It is a model of the useful marriage of musicology and splendid music-making.
Gramophone
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Thank you for offering some very interesting music