Anna Maria

Fabio Biondi and Europa Galante expand the Vivaldi edition with the eleventh volume of violin concertos bearing the name of one of the most famous interpreters of the early eighteenth century: Anna Maria. Hailed as a "child prodigy" and outstanding artist of the Ospedale della Pietà, where Vivaldi taught for forty years, Anna Maria was an accomplished violinist, but also mastered the viola d'amore and theorbo, as well as the harpsichord, cello, lute, and mandolin. Her reputation spread throughout Europe, and we know that Vivaldi dedicated at least twenty-four concertos to her.

Accroître votre libido de façon naturelle et saine pour une plus grande satisfaction.
Une bonne santé mène à de bonnes activités sexuelles et du bon sexe peut conduire à une bonne santé. Votre vie sexuelle peut s'améliorer au fil du temps grâce au pouvoir de l'intimité, une complicité qui croit agréablement chaque année. …

For purists, Gavin Bryars has raised issues of appropriation in his contemporary adaptations of fourteenth century Cortonese laude, but it is sometimes difficult to know how much of the material on Oi Me Lasso he has quoted and how much he has elaborated. In their original form, these sacred songs were written for unaccompanied soprano voice; one can be sure that the drones, passing dissonances, and instrumental parts are Bryars' inventions, and that he has reshaped the pure vocal lines to his own expressive needs.

Born December 14, 1970, vocalist Anna Maria Jopek is a native of Poland, and grew up listening to her native folk music. She studied classical piano at the Chopin Academy of Music in Warsaw, and briefly participated in jazz studies at the Manhattan School of Music. She was a contestant in the 1997 Eurovision Song Contest, and is a recipient of the Michel Legrand Award. Her nearly dozen recordings have reached gold and platinum status in Europe. She prefers not to be pegged as strictly a jazz singer, though the influence of Keith Jarrett is quite prevalent in her music.

Another French baroque opera composer, Henry Desmarest, resurfaces after centuries of obscurity. Vénus & Adonis, first seen in 1697 in Paris, was composed in the midst of a scandal, when Desmarest eloped with a young singer who was the daughter of a powerful official. In his absence, he was sentenced to death and thus effectively exiled until his pardon in 1720. The opera’s theme of illicit love seems to have fired Desmarest’s imagination, and the stylish cast, headed by Karine Deshayes and Sébastien Droy, responds in kind. One senses, too, rare involvement in the playing of Les Talens Lyriques. More Desmarest operas await.