Fuckyourclique Scusate IL Ritardo

Alessandro Stradella’s place in the annals of the history of music is not only due to the adventurous circumstances that marked his brief existence, but also to the reputation as a opera composer he has acquired since the 18th century. Inaccessible for many decades to specialists and scholars, La Doriclea is definitely the least known of all Stradella’s operas. However, it constitutes a particularly significant chapter in his overall output: composed in Rome during the early 1670s, to our knowledge La Doriclea represents the first opera entirely composed by Stradella.

Locatelli was one of the most impressive violin virtuosos of the first half of the eighteenth century. Considered today as a sort of Baroque Paganini, he left picturesque, colourful, strikingly modern pieces for his instrument. A few years after a Mozart collaboration that earned them worldwide acclaim, Isabelle Faust and the musicians of Il Giardino Armonico bring out the full narrative intensity of these concertos, worthy of the operatic stage!

Star countertenor Max Emanuel Cencic steps into new musical territory with the world premiere recording of Catone in Utica by Leonardo Vinci, a forgotten genius of Italian opera. The opera tells a powerful tale of Julius Caesar’s defeat of the Republican forces led by Marcus Porcius Cato in 46 BC, exploring the eternal themes of love, duty and honor. Featuring five countertenors along with conductor Riccardo Minasi who leads il pomo d’oro.

The Brandenburg Concertos by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts à plusieurs instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, Margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). They are widely regarded as some of the best orchestral compositions of the Baroque era.

Countertenor Max Emanuel Cencic has emerged as a new star of the specialty partly through fearless programming, and this collection of Arie Napoletane, Neapolitan arias or arias from Naples, is no exception. There really isn't a "Neapolitan school." Rather, Naples was on the musical cutting edge in the second quarter of the 18th century, and the arias here represent both a classic opera seria style, in the pieces by the massively prolific Alessandro Scarlatti, and music by the composers who pointed the way toward the melodically simpler future of Gluck and eventually Mozart, like Leonardo Leo and Leonardo Vinci. These latter are hardly household names, and Cencic, offering several recorded premieres, renders a valuable service simply by finding and choosing the deliberate and sensuous arias heard here. Moreover, the album's stylistic contrasts play to Cencic's strengths.

During the time of Johann Sebastian Bach, death was part of everyday life. The ensemble il capriccio and the countertenor Franz Vitzthum offer the Thomaskantor's musical perspective on life and death on their new GENUIN CD. The texts of the recorded arias and chorale arrangements by Bach deal with death, eternity and the promise of eternal life. The musicians juxtapose the works, some of which have been carefully arranged, with selected sections from the Art of Fugue. The result is an artistic and moving musical tapestry, interpreted by Franz Vitzthum and the ensemble il capriccio with intensity and sensitivity.

Giovanni Antonini and his ensemble Il Giardino Armonico celebrate the composer who made them famous: Antonio Vivaldi. Their recordings of The Four Seasons and Cecilia Bartoli's famous first Vivaldi recital left an indelible mark on the discography of the Red-haired Priest! Their musical fireworks display continues with a programme of concertos that is bound to provoke strong reactions, since it is the result of a meeting with a musician who is equally adept at shifting boundaries, the violinist Patricia Kopatchinskaja. Together they have devised a programme entitled WHAT'S NEXT VIVALDI?, which interweaves ultra-virtuosic concertos by Vivaldi (Il Grosso Mogul RV 208, La Tempesta di Mare (for violin!) RV 253, and RV 157, 191, 550 among others) with, between each concerto, short pieces written by much more recent composers, Luca Francesconi, Simone Movio, Giacinto Scelsi, Aureliano Cattaneo and Giovanni Sollima, and mostly commissioned by Patricia Kopatchinskaja especially for this programme.

From an early age Benedetto Marcello proved to be a man of great versatility: a poet, writer, musician, lawyer, judge, administrator and philologist, holding important posts in these functions during his entire life. As a composer he wrote a substantial oeuvre, covering all important fields of composition: sacred and secular choral works, opera and a large body of instrumental music.

A band of musicians from the seventies to the present day, who escaped an unlikely plane crash awakened from a cryogenic sleep after being hibernated in an iceberg? "Sotto il segno della lampreda" is the name of the album proposed by the prog band Il Buco Del Baco, a concept that will lead us under the mysterious seabed, among anemones, corals and abyssal creatures in search of the "Great Lampreda". Between vintage and contemporary sounds and irreverent and self-ironic texts full of musical and non-musical quotes, a marine journey in the smell of a nostalgic past.

Er war Impresario, Librettist, Komponist und ein hervorragender Theorbenspieler – doch in erster Linie fühlte sich Benedetto Ferrari als Musiker. Um 1604 in Reggio Emilia nordwestlich von Modena geboren, studierte er in Rom. 1637 ging er das Wagnis ein, mit dem Teatro S. Cassiano das erste öffentliche Opernhaus und selbsttragende Unternehmen in Venedig zu gründen. Die Logen wurden an Adlige und reiche Bürgerfamilien verpachtet. Das Parkett war zunächst unbestuhlt, frei auch für Turniere und Umzüge; die Plätze konnte jedermann kaufen. Verlängert wurde der Zuschauerraum durch die Bühne, der Orchestergraben blieb lange versenkt. An sämtlichen Opern, die für dieses und die anderen Häuser, die plötzlich wie Pilze aus dem Boden schossen, benötigt wurden, war Ferrari als Komponist und Librettist beteiligt. Doch gelten seine Partituren größtenteils als verschollen, weshalb wir Ferrari als Komponisten lediglich aus seinen drei Büchern mit Kammerkantaten, den Musiche varie a voce sola, kannten.