Nuria Rial & Artemandoline Venice's Fragrance

An invitation to the intimate setting of an Austrian or Italian Court at the beginning of the XVIIIth century.
Contrasting voices and instruments performing as a solo or together will compete with charm and impetuosity to conjure up the vivacity and the beauty of the Italian music at the time. In the early years of the 18th century the mandolin was an integral part of the Baroque musical scene. As such, it is found in a hundred or so operas.

The baroque ensemble Artemandoline and the renowned soprano Nuria Rial are set to release their new album Venice’s Fragrance on June 12th, on the German label Sony, Deutsche Harmonia Mundi and on the French label Sony France.

After the internationally successful solo debut of Jan Börner‘s disc “absorta est …”, this album connects to Börner‘s first work in many respects. We find ourselves in the German-speaking repertoire of the predominantly late 17 th century, however, this time with secular instead of sacred music.

The last decade or so has seen the blossoming of a new generation of vocal talents from Spain, many of whom have been expressing their art through early music. A leading figure in this artistic array has been the soprano Nuria Rial, a singer blessed with an unaffected declamatory style, sweet and yet intimate in its emotional charm. In recent years the career of Rial has seen her tackle with success music by Bach, Handel, Mozart, Haydn, as well as Pergolesi and much Italian seicento repertoire. This newly-prepared Glossa album turns the clock back to collect together recordings made by the fresh voice of the Catalonian soprano in the years immediately following her studies at the Musik-Akademie in Basel.

Haendel n’a que 21 ans lorsqu’il quitte l’Allemagne pour l’Italie. C’est pour répondre à l’invitation du prince Jean Gaston de Medicis qu’il arrive à Rome en 1706 possédant déjà une culture musicale influencée par les courants italiens. Ces années en Italie seront des années de pur bonheur, il y fera la connaissance de Corelli et des Scarlatti, n’hésitant pas à se mesurer à Domenico dans une joute musicale dont il triomphera.

This 2nd album focuses on the iconic Bologna musician musician and adds a great Soprano singer Nulia from Catalonia by illuminating the musical music as well as the voice work of the time. The 3 song voice works have an image of "air" and figuration repeatedly. In other words, the anxiety of a lover who struggle to find peace of mind as if it is moving in the air (Aria Colona), or the story of angels coming from heaven to save people (Perti's Kantha "Vieni pur con i tuoi vezzi") or Aura breathing in the sacred place (Pololo motto Aurae sacra e amati ardores) These Soprano self-chanting works are alongside the collaboration of Jusppe Trelli, born in Venice since 1684, lives in Boronia and has career as composer.

This 2nd album focuses on the iconic Bologna musician musician and adds a great Soprano singer Nulia from Catalonia by illuminating the musical music as well as the voice work of the time. The 3 song voice works have an image of "air" and figuration repeatedly. In other words, the anxiety of a lover who struggle to find peace of mind as if it is moving in the air (Aria Colona), or the story of angels coming from heaven to save people (Perti's Kantha "Vieni pur con i tuoi vezzi") or Aura breathing in the sacred place (Pololo motto Aurae sacra e amati ardores) These Soprano self-chanting works are alongside the collaboration of Jusppe Trelli, born in Venice since 1684, lives in Boronia and has career as composer.

Este fantástico disco pensado especialmente para los amantes del Barroco, muestra la realidad de la música teatral española al despuntar el siglo XVIII. Con un poderío instrumental impresionante, unos arreglos hermosos y mucho talento, el disco propuesto por el director Fahmi Alqhai al frente de su Accademia del Piacere deja claro cómo el estilo italiano arraiga en España de mano de la corte borbónica fundiéndose con los ritmos y armonías locales que tanto influyeron en Sebastián Durón, uno de los nombres fundamentales de la renovación de la música española del momento.

Rewritten with enhanced regal bravado for the coronation of George II, Handel's 1727 opera of Richard the Lionheart is a rarely heard but rewarding enterprise. Goodwin conducts a fervent Basel Chamber Orchestra in this new scholarly version, fully exploiting the dramatic twists of the King's quest to reclaim his abducted fiancée, Constanza. Amid much nice character-building from the decent cast, Nuria Rial enjoys Constanza's luxuriant lines, while Lawrence Zazzo revels as the Lionheart. Riccardo's Act III revenge aria is truly ominous, furiously driven by Goodwin and some innovative brass writing.