Carlo Remotti

Don Giovanni’s special amalgam of dark drama and sparkling comedy is captured with startling immediacy by Carlo Maria Giulini. The Viennese baritone Eberhard Wächter faces a particularly formidable pair of noble ladies: Donna Anna in the form of Joan Sutherland (in one of her rare recordings for a label other than Decca) and the Donna Elvira of Elisabeth Schwarzkopf.

In Puccini’s anniversary year, Chief Conductor of Welsh National Opera Carlo Rizzi has created new, purely orchestral versions of some of his most well-known and beloved works. Staying pure and faithful to Puccini’s original orchestration without anything added to ‘cover’ any perceivable lack of vocal line, the brilliance of Puccini’s Madama Butterfly, Tosca, and other works shine through in this album of world premiere recordings.

Following four successful recordings released on the Ricercar, Alpha and Arcana labels, Rome-based Andrea De Carlo and his Ensemble Mare Nostrum continue their exploration of the Roman repertoire and inaugurate here a new series of recordings, with its own distinctive artwork, devoted to the vast and multifaceted musical heritage of the Eternal City.

Based on a ponderous libretto by Metastasio (who defined his own work as “stellar”) Leonardo Vinci’s dramma per musica was premiered in Venice in 1726 and was triumphantly acclaimed. Since then, Siroe, Re di Persia was put to music by composers such as Vivaldi, Handel, Hasse, and Galuppi, to mention just a few. The story uses some of the elements of the plot of Partenope, almost as if it were a sequel moved to Persia. Siroe’s plot revolves around a family mystery mingled with passions, traitors en travesti, fatherly affection and filial honesty that echoes Shakespeare’s King Lear. Performed in concert version at Teatro San Carlo of Naples in 2018, this rare opera was chosen to open the theatre’s 281st season. Conductor Antonio Florio , specialist of the Neapolitan Baroque repertoire, revised the score.

The film was a sensation and audiences all over the world were entranced. It was hugely influential and ushered in a whole era of Comedy, Italian Style. Aiding and abetting the mischievous fun was the wonderful score by Carlo Rustichelli. Rustichelli, born in 1916, had begun working in film in 1939 and by 1962 had become a hugely popular composer for Italian films. His first film for Pietro Germi was Lost Youth in 1948 and thus began one of the longest and most fruitful director/composer collaborations ever, with Rustichelli composing scores for all but the first of Germi’s films – eighteen in total. He also worked with other directors such as Billy Wilder, Mario Bava, Gillo Pontecorvo, Luigi Comencini, and provided scores for countless sword and sandal films, spaghetti westerns, crime films, and just about every genre imaginable. He was a superb melodist, and Divorce, Italian Style is rife with great themes, which all serve the film perfectly. In fact, the film would be unthinkable without Rustichelli’s wonderful and tuneful score.