Concerto Köln

This hilarious contemporary version of Francesco Cavalli's baroque opera Hercules in Love was commissioned on occasion of the marriage of Louis XIV, the Sun King, to Maria Theresa of Spain. The original production took two years to complete and was at the time the greatest show ever performed in Europe. Directed by David Alden, this surreal production is a triumph of commedia buffa resplendent with decorative and symbolic elements, and complemented by Constance Hoffman's exceptional costumes. Led by Ivor Bolton, a master of baroque music, the chorus of De Nederlandse Opera and Concerto Köln give a sublime performance. With Luca Pisaroni's (Ercole) singing being heroic and melodious in turn, and Veronica Cangemi as a splendid Iole, this is an outstanding production by the DNO.

This hilarious contemporary version of Francesco Cavalli's baroque opera Hercules in Love was commissioned on occasion of the marriage of Louis XIV, the Sun King, to Maria Theresa of Spain. The original production took two years to complete and was at the time the greatest show ever performed in Europe. Directed by David Alden, this surreal production is a triumph of commedia buffa resplendent with decorative and symbolic elements, and complemented by Constance Hoffman's exceptional costumes. Led by Ivor Bolton, a master of baroque music, the chorus of De Nederlandse Opera and Concerto Köln give a sublime performance. With Luca Pisaroni's (Ercole) singing being heroic and melodious in turn, and Veronica Cangemi as a splendid Iole, this is an outstanding production by the DNO.

Der Garant für die hohe musikalische Qualität der Produktion war Festspielleiter Nicholas McGegan. Diese Rodelinda bestach durch eine differenzierte und ungeheuer lebendige Interpretation von Händels Musik. Mit dem Orchester Concerto Köln stand ihm auch eines der besten "Barock-" und Opernorchester zur Verfügung, das in dieser Rodelinda vor allem die lyrischen Dimensionen des Werkes genussvoll gestaltete.

Recorded at the Théâtre des Champs-Elysées in June 2004, le Nozze de Figaro was unanimously acclaimed by public and critics alike as a Mozart opera landmark. Director Jean-Louis Martinoty brings an elegantly intelligent narrative sense to an interpretation in which the protagonists, against a backdrop of magnificent canvases of 18th- century inspiration, are dressed by Sylvie de Segonzac in a palette in which every shade is perfect.

Kaum ein anderes Werk der Musikgeschichte ist so voller Geheimnisse wie Mozarts Requiem: Vom ominösen Auftraggeber bis zur immer wieder geäußerten Kritik an der Vervollständigung des Fragments durch den Mozart-Schüler Süßmayr. Die Quellenlage ist unübersichtlich, neben Süßmayr waren noch weitere ›Vervollständiger‹ mit am Werk, das Witwe Constanze als eines von Mozart allein veröffentlichen wollte.

Simon Mayr is mostly remembered as Donizetti’s teacher, but as recent recordings of his sacred music reveal, there is more to him than that; more, even, than the 70 operas he produced over his long career in his adopted Italy. According to expert Franz Hauk’s liner notes, Mayr produced in all some 600 sacred compositions; many of these are individual mass movements but they also included 18 complete masses.

“This magnificent production is a complete and blissful success. Don’t miss it.” Those were the words of the French website Classique News when Leonardo Vinci’s rediscovered Artaserse was staged by Silviu Purcãrete at the Opéra National de Lorraine in Nancy. Complementing the CD version of the opera released in Autumn 2012, this DVD features no fewer than five of the world’s leading countertenors – assuming both male and female roles: Philippe Jaroussky, Max Emanuel Cencic, Franco Fagioli, Valer Barna-Sabadus and Yuriy Mynenko.

For their new album, Concerto Köln have tracked down yet another gem of the Baroque era. Their journey takes us to England, to the composer Charles Avison and his arrangements of Domenico Scarlatti’s harpsichord sonatas, which represents a milestone in British music history – beautifully interpreted here by one of the leading ensembles in the field of historical performance practice. Charles Avison is not exactly that what one would call a “popular composer”. He hardly plays any role whatsoever in the musical scene, the Bielefelder Katalog has documented only a handful of performances of his works and he surfaces rather sporadically within the expanse of musicology. It is basically due to historical performance practice that attention is once again being drawn to his works. And indeed: it is worth it!