Lumi 32

Hungarian conductor Pál Németh seems to be starting a series of larger-sacred works by Viennese composer Antonio Caldara. Coming on the heels of his Paschal work La passion di Gesù Cristo , likewise on Hungaroton, this particular oratorio features something that should resonate in Budapest, since it focuses on King Stephen, the country’s patron saint. Regardless of the subject matter, however, the work conforms to the typical Italian oratorio of the early 18th century, that is to say, a sacred mirror of the opera seria consisting of a series of da capo arias following recitatives.

The set has various virtues in its favor. Richter conducts an orchestra of modern instruments somewhat stolidly, but always with lyrical polish and sumptuous tone, and one can enjoy its lush richness, however anachronistic it may be. Nor are his tempos stereotypically sluggish; many of the sprightlier moments bounce along energetically. The soprano role of Cleopatra is sung by a young Tatiana Troyanos, who later became a celebrated mezzo-soprano (and eventually undertook the title role in stage productions, making her perhaps the first singer in history to undertake the roles of both Cleopatra and Caesar). It’s interesting to hear her in her earlier soprano incarnation. Dietrich Fischer-Dieskau makes a valiant baritone effort at Caesar’s alto arias and, while he avoids the woolly grumbling some bass-baritones make of the part, seems less than emotionally committed. His second aria, “L’empio diro, tu sei,” for example, sounds polite and cautious rather than raging and indignant.

Nato a Bologna nel 1661 e ivi morto nel Bologna 1756, Giacomo Antonio Perti si formò all’eccellente scuola cittadina e si perfezionò a Parma con Giuseppe Corso detto il Celano che era invece di scuola romana. Così ferrato di studi, presto cominciò a comporre per il teatro, divenne principe dell’Accademia Filarmonica, partecipò alla polemica fra Corelli e Colonna (prendendo le parti del primo, il più giovane), divenne maestro della cappella della metropolitana di S. Pietro e nel 1696, finalmente, acquisì la maggiore cappella di S. Petronio che tenne per 60 anni

During his lifetime, from his Neapolitan years to his Spanish sojourn, Domenico Scarlatti cultivated the “cantata” genre, composing at least about sixty works – those of uncertain attribution and his Serenades excluded. Other cantatas are likely to emerge once the uncatalogued funds are systematically scanned. Since in those years the cantata was a genre on the wane, this high number is revealing of Scarlatti’s uninterrupted link with the baroque tradition, an age in which the cantata had reached its climax as an extremely refined genre, the place for daring experimentation, and exquisite writing, the appropriate gym for high craftsmanship, as expected by the elitist audience for which it was intended. The manuscripts date from 1699 to 1724.

In the early 90s, after experiencing numerous artistic and commercial success, especially with Jean Michel Jarre and Christopher Francis Dreyfus embarks on the adventure of jazz. To win from the start in this universe in which we did not necessarily expected, Francis Dreyfus sign big names: Steve Grossman, Marcus Miller, Roy Haynes, but also Richard Galliano, Biréli Lagrène, Michel Petrucciani and Eddy Louiss. 20 years later, Dreyfus Jazz has become a prestigious and must label.
To celebrate its 20 years, Dreyfus Jazz publishes luxurious. box of 20 CDs.

Continuinghis exploration of Handel operas, maestro René Jacobs now turns his attention to Agrippina the first great operatic success of the composer s Italian period. Composed in 1709, Agrippina is an opera seria in three acts on a libretto by Cardinal Vincenzo Grimani. The opera tells the story of Agrippina, the mother of Nero, as she plots the downfall of the Roman Emperor Claudius and the installation of her son as emperor. Grimani s libretto, considered one of the best that Handel set, is full of topical political allusions. Some believe that it reflects the rivalry between Grimani and Pope Clement XI. From its opening night, the work was given a then- unprecedented run of 27 consecutive performances and received much critical acclaim.

The collection Le nuove musiche by Giulio Caccini, also known as Romano, was published in Florence by Marescotti in 1602. Caccini’s music embodies the new way of composing and of singing. The author writes in his extensive indications to readers “not to esteem that sort of music which does not allow the words to be understood, and spoils the concept and the verse sometimes by lengthening and sometimes by shortening the syllables to fit the counterpoint, a laceration of the poetry”. The world prevails on music and this spirit remains in this beautifully programmed CD by Claudine Ansermet and Paolo Cherici.

Continuinghis exploration of Handel operas, maestro René Jacobs now turns his attention to Agrippina the first great operatic success of the composer s Italian period. Composed in 1709, Agrippina is an opera seria in three acts on a libretto by Cardinal Vincenzo Grimani. The opera tells the story of Agrippina, the mother of Nero, as she plots the downfall of the Roman Emperor Claudius and the installation of her son as emperor…