Subrahmanya L. Hegde

Monteverdi’s L’Orfeo - premiered in 1607 at the Ducal Palace in Mantua - is a unique masterpiece in its way of thinking and representing music that never ceases to inspire the greatest.Emiliano Gonzalez Toro, at the heart of his ensemble I Gemelli, signs his third recording for naïve with this luxuriant reading refocused around the voice, which exalts both the aesthetics inherited from the Renaissance and the modernity of a virtuoso score.This production, hailed on the stages of Paris and Toulouse at the end of 2019, has the singularity of being conducted ‘by the voice’ by the tenor, who plays the title role while directing singers and instrumentalists. Emiliano Gonzalez Toro displays his care - not only for himself but also for the ten soloists who surround him - with richly ornamented vocal lines that contrast in their dynamics and climates, always keeping the narration and interventions of the characters in tension.

Goethe as an opera librettist: in November 2019, an opera sensation was to be experienced at the Leverkusener Erholungshaus: 232 years after its creation, a comic opera was premiered with "Scherz, List und Rache", to which none other than Johann Wolfgang von Goethe had written the Libretto. The music was composed by Goethe's childhood friend Philipp Christoph Kayser (1755-1823).

An echo of the luxuriant performance at the 2018 Salzburg Festival, where this recording was made, this new version of the Coronation of Poppea by Claudio Monteverdi, conducted by William Christie (who had already recorded the piece once before, at a concert in Madrid, with production by Pier-Luigi Pizzi, in 2010) met with unanimous acclaim thanks to its exceptional musical execution. A distribution to die for, dominated by Sonja Yoncheva's voluptuous interpretation of the titular role, and fabulous instrumentation from the Arts Florissants, led by Christie, with no fancy tricks, from the vantage point of his harpsichord. These ingredients all add up to a very high quality production to mark the fortieth anniversary of the ensemble, which was founded in 1979.

The culmination of a three-year Monteverdi project led by conductor William Christie and director Pier Luigi Pizzi at Madrid’s Teatro Réal, L’incoronazione di Poppea brings a potent blend of sex and politics, high drama and comedy. Leading the cast are Danielle de Niese as Poppea, Philippe Jaroussky as Nerone, Max Emanuel Cencic as Ottone and Anna Bonitatibus as Ottavia.

Monteverdi’s L’Orfeo is naturally an iconic work for Leonardo García Alarcón. The Argentinian conductor has performed and matured his interpretation of Monteverdi’s masterpiece throughout his life. Together with his group of soloists, the Namur Chamber Choir and the Cappella Mediterranea ensemble, he now presents his vision of L’Orfeo: Monteverdi’s opera is as much the apotheosis of the Renaissance as a testimony to the nascent Baroque style.

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Released 90 years after he was born and 30 years after his death, Inégrale / Le Temps Ne Fait Rien À L'Affaire is a comprehensive 19-disc collection that contains everything any hardened George Brassens fan could possibly want. Featuring a colossal 330 remastered tracks, the unique box set includes 14 original studio albums, a compilation of live performances, and two discs' worth of previously unpublished rarities and demos alongside posthumous material recorded with the help of Jean Bertola.

After composing a spectacular series of grand operas for the Paris Opéra, Meyerbeer turned to two comic operas with spoken dialogue. One of these was L’Étoile du Nord (‘The North Star’) which is strictly an opéra de demi-caractère, containing both comic and serious elements. This fusion was one of Meyerbeer’s most important contributions to the development of grand opera. The plot is a peculiar mixture of village wooing and military life, with music that is full of colour, featuring superb choruses and exceptional orchestration. This 1996 Wexford Festival Opera production features a dazzling young cast under the direction of Vladimir Jurowski.

It is a sad irony of history that Tomaso Albinoni is universally known for a piece he never wrote. The average music lover, prompted by the word “Albinoni”, will normally answer: “Adagio!”. But the exceedingly famous Adagio, played at weddings and funerals, and heard in countless soundtracks, is in fact a fake realized by Italian musicologist Remo Giazotto in the twentieth century. Still, the fake Adagio has the undeniable merit of having attracted global attention on the figure of this Venetian baroque composer, who fully deserves to be numbered among the greatest musicians of his era. And this claim is not unsupported: we may in fact assume that a composer whose works were adopted as models by Johann Sebastian Bach had something to say. Bach in fact employed themes excerpted from Albinoni’s Opera I and built some of his finest Fugues on them; moreover, he also proposed Albinoni’s music to his students as a compositional model. In fact, we have Bach’s handwritten corrections on a pupil’s realization of the continuo part of an Albinoni Sonata.

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