il Trovatoree

Leonora, the main female character of Il trovatore, embodies like no other Verdian heroine absolute devotion and faithfulness, until her ultimate sacrifice to save her lover. One of the most tragic roles of the bel canto repertoire, it is very vocally demanding, requiring a wide ambitus and virtuosity. Having triumphed in Leonora on all world stages, Maria Callas bade farewell to the role in this stunning recorded version, conducted by Karajan and surrounded by a five-star vocal cast.

Although known almost exclusively for his instrumental concertos and the spurious Adagio attributed to him, Tomaso Albinoni was mainly a man of the theater; he composed 81 operas and, late in life, made his living as a singing coach. However, the best efforts of posterity to catch up with Albinoni's operatic creations are significantly stymied by the fact that only three of his stage works are fully extant, the rest preserved only in occasional and fugitive fragments in the form of single arias and other bits and pieces. "Il Nascimento dell'Aurora" is a serenata – or more specifically, a "festa pastorale" – a kind of courtly entertainment not really meant to be specifically dramatic or compelling and, in this case, dealing with the birth of Roman goddess of the dawn, Aurora ….

The Mozartists continue their MOZART 250 project of staging operas by Mozart and his contemporaries with their recording of the UK premiére of Niccolò Jommelli’s Il Vologeso, first performed over 250 years ago on 11 February 1766 for the Stuttgart court in Ludwigsburg. For this eagerly awaited performance The Mozartists assembled a superb young cast, headed by the Irish mezzo-soprano Rachel Kelly, a graduate of the Royal Opera’s Jette Parker Young Artist Programme, tenor Stuart Jackson, a former Mozartists Associate Artist, and soprano Gemma Lois Summerfield, winner of the 2015 Kathleen Ferrier Award.

FROM THE LOVELY, LANGUID opening words, “Dalle cime dell’Alpi” (From the tops of the Alps), as Winter returns from the mountains to learn from the other seasons of the death of the Virgin Mary, this new recording makes a case for Marcello’s 1731 oratorio, Il Pianto e il Riso delle Quattro Stagioni. Fresh voices, attentive to text and to stylish phrasing, portray the siblings Spring, Summer, Autumn and Winter, supported by the lively playing of the Ensemble Lorenzo da Ponte and vigorous singing of the Venice Monteverdi Academy under the direction of Roberto Zarpellon.