Fred DE Palma IL Cielo Non CI Vuole

Monteverdi's great opera is a celebration of unwavering devotion, conveyed in some of the composers most poignant, heart-breaking music. After two brutal decades of war, the weary Ulysses is washed up on the rocky shore of his home island of Ithaca. There, he discovers the hordes of depraved admirers who have beseiged his faithful wife Penelope in his 20-year absence and launches into battle to win back her love. Monteverdi's opera is a celebration of unwavering devotion, conveyed in some of the composers most poignant, heartbreaking music. Sir John Eliot Gardiner leads an exemplary cast of world-class singers alongside the Monteverdi Choir and English Baroque Soloists in this live recording from The National Forum of Music in Wrocaw, Poland part of their critically acclaimed Monteverdi 450 tour in 2017.

This is regarded as the archetype of the oratorio par excellence, as its creator’s most famous work – the «Messiah» by George Frideric Handel. The «Messiah» owes its fame less to the (undeniably high) quality of the composition than to its particular history of reception. This history was enriched by a veritable treasure when the Handel House Foundation in Halle was able to acquire a previously unknown score of the Italian-language version, which was first performed in Florence in 1768 and was long thought to have been lost. At the Innsbruck Festival, the wonderful work «Il Messia» will be performed under the direction of Alessandro De Marchi and with an outstanding soloist cast.

This is regarded as the archetype of the oratorio par excellence, as its creator’s most famous work – the «Messiah» by George Frideric Handel. The «Messiah» owes its fame less to the (undeniably high) quality of the composition than to its particular history of reception. This history was enriched by a veritable treasure when the Handel House Foundation in Halle was able to acquire a previously unknown score of the Italian-language version, which was first performed in Florence in 1768 and was long thought to have been lost. At the Innsbruck Festival, the wonderful work «Il Messia» will be performed under the direction of Alessandro De Marchi and with an outstanding soloist cast.

Gioacchino Rossini wrote two kinds of comic opera. First there was the manic, almost farcial "opera buffa" (eg. THE BARBER OF SEVILLE). Then there was a kind of serio-comedy akin to the "dramma giocoso" of Mozart. IL TURCO IN ITALIA (1816) definitely falls in the latter category (as does LA CENERENTOLA). This little-known opera is a real gem. It is about a Muslim prince (Selim, sung by Michele Pertusi in fine voice) from Turkey and the comedy and conflict that ensue when he visits Italy. A clash of cultures ensues as the polygamous Selim tries to steal Don Geronio's young wife, Fiorilla (mezzo-soprano Cecilia Bartoli, singing a role written for soprano)…

VA - Dammi Il Tuo Amore (1998)
Pop Italian | EAC rip | Flac, Log, Cue | Covers 600 dpi | 713 mb

Bellissima raccolta delle più belle canzoni della storia della musica italiana, selezionata negli anni 90, questa raccolta vi farà rivivere momenti magici ed indimenticabili, ogni pezzo di questo raccolta è un grande successo della storia della musica italiana.

Ulysses and Monteverdi: passion and action at the heart of musical drama. Penelope sings of her endless wait, her hope to see the king of her heart again, while her suitors besiege her to take her hand and the throne. The return of Ulysses to Ithaca after twenty years of wandering brings the drama to a close. Travelling incognito disguised as an old man, he arrives at the palace for the contest that Penelope has arranged: whoever manages to bend Odysseus' former bow will have the hand of the queen. The old man in rags presents himself to the court, and achieves his revenge… Stéphane Fuget conducts this masterpiece, using every instrumental spell to fulfil his great ambition: to restore to Monteverdi's music and singing all of it's ornaments and colors, thanks to a magnificent cast and their passionate support.

First performed in 1729 and quickly forgotten, Lotario is a worthy work with plenty of effective arias and a duet, with characters and intrigues that demand attention. Conductor Alan Curtis explains in the liner notes that he has cut the recitatives and an aria or two in order to get the work onto two CDs. I can’t argue with his decision, and it’s good to have such a fine performance of this unknown work available. Curtis breathes life into each aria and paces the recitatives wisely. He takes time over the warm, loving arias and doesn’t give in to the temptation to rip into the allegros.