Cecilia Cara

The opera opened in 1786, the same year as Mozart’s Le Nozze di Figaro , and both were revived in Vienna three years later. In the revival of Il bubero di buon cuore , since Martín y Soler was then in the court of Catherine the Great in St. Petersburg, Mozart wrote two new arias for Madama Lucilla. “Chi sa qual sia l’affano” and “Vado, ma dove, o Dei?,” which are beautifully sung on this recording by Véronique Gens, the first aria on CD 1, track 18, and the second on CD 2, track 4.

This is the second solo outing for Peruvian-born bel canto tenor Juan Diego Flórez, who, at the age of 30, is garnering high acclaim for his clear, loud voice and secure confidence, on-stage charisma, and outstanding sense of vocal expressiveness. Una furtima lagrima, indeed, is an earnest, earthy, easily accessible disc of arias, choral ensembles, and scenes drawn from works of Bellini and Donizetti. On this beautifully recorded Decca disc Flórez is helped out by the Orchestra Sinfonica e Coro di Milano Giuseppe Verdi, conductor Riccardo Frizza, and vocal artists covering other roles in these operatic "bleeding chunks" including Nikola Mijailovic, Nicola Uliveri, and Ermonela Jaho.

Passion Jaroussky marks 20 years since Philippe Jaroussky made his professional debut and commenced his rapid ascent to stardom. As the French countertenor says, “Even after all these years, my passion for music is undimmed.” Ranging musically from the 16th to the 21st century, the triple album comprises both new recordings and highlights from recent albums, and it also showcases Jaroussky’s collaborations with a host of major singers – from the worlds of both classical music and pop – instrumentalists, conductors and orchestras.

Caffarelli, castrato assoluto, was a famed rival to the more famous Farinelli. Born Gaetano Majorano in Bitonto in 1710 - he was to die in Naples in 1783 - he studied with his rival’s teacher, Nicola Porpora. He travelled across Europe, singing in the most prestigious opera houses, earning huge amounts and behaving exceptionally badly. His one season in London in 1737-38 singing for Handel was, however, a resounding failure and it’s to the repertoire of the Naples School that this disc turns in order to present arias most associated with this most touchy, querulous and downright rude castrato of the eighteenth-century.
– Jonathan Woolf, MusicWeb International.