Maurice Bourgue I Solisti Veneti

Posterity has recorded neither date of composition nor dedicatee of this “pastoral revel,” although modern scholars theorize the work was composed for the birth of Maria-Theresa in 1717. With its strict sequence of recitative, aria and occasional chorus, and gracious allegorical aura, Albinoni seems more inclined to conform to oratorio tradition than to advance the cause of the still-young operatic form. This live 1983 Venice performance (complete with unruly bursts of applause at appropriate moments) suggests the charms of the piece without convincing that it is a milestone. Anderson’s silvery soprano soars in florid passages, while Browne’s incisive mezzo brings unusual depth to Apollo. Scimone leads a superior performance, born of stylistic discrimination and theatrical fire.

The most comprehensive edition devoted to Gioachino Rossini marking his 150th anniversary. Born in 1792, Rossini was the most popular opera composer of his time. Although he retired from the Opera scene in 1829, he continued to compose in other genres, including sacred music, piano and chamber works. He did gather his late works under the ironic title Péchés de vieillesse (Sins of Old Age), which veils a true collection of masterworks.

The most comprehensive edition devoted to Gioachino Rossini marking his 150th anniversary. Born in 1792, Rossini was the most popular opera composer of his time. Although he retired from the Opera scene in 1829, he continued to compose in other genres, including sacred music, piano and chamber works. He did gather his late works under the ironic title Péchés de vieillesse (Sins of Old Age), which veils a true collection of masterworks.

Salieri's own autograph work-list contains the following entry: 'Two concertos for the pianoforte, written for two ladies." Unfortunately we do not know who these two ladies were. All that we can say for certain is that they must both have been technically accomplished and trained to the highest musical standards. Salieri's demanding concertos are distinguished in the main by their middle movements, traditionally the genre's most fertile field of experimentation.

A versatile collection of Concertos and Arias by Vivialdi, from I Solisti Ambrosiani. The Solisti Ambrosiani are an Italian ensemble specialising in early music and in the philological performance on original instrumentation, founded in 2008 by the soprano Tullia Pedersoli and the violinist Davide Belosio.

With THE FLEMISH CONNECTION vol. 2, I SOLISTI release a second album with works by their composer-in-residence Frederik Neyrinck. He has mastered the art of writing brilliant and innovative compositions that make the most of the wind ensemble’s wealth of sound colours quite like no other. The setting of texts and stories is a recurring theme throughout this fascinating album. Featured are concert versions of two musical theatre pieces: Landru, the story of a famous serial killer, and WILD, a magical realist fairy tale. The third work on the album, De oude woorden van een tijd die komen gaat (The old words of a time that still is yet to come), premiered at the 2021 Klarafestival and is based on a new idyll by Dutch author Ilja Leonard Pfeijffer. Narrator Josse De Pauw and soprano Lore Binon guide us through this work, which is immersed in a medieval atmosphere reminiscent of the current pandemic.

Diogenio Bigaglia, a composer who at present is unknown to most people, was active in Venice in the first half of the eighteenth century, so he was a contemporary of the much better known Tomaso Albinoni, Alessandro and Benedetto Marcello, and, above all, Antonio Vivaldi, whose work shows several evident – and more or less explicit – references to Bigaglia’s production. So he turns out to be a composer who is worthy of interest not only for the intrinsic musical worth of his works, but also for the influence his activity may have had on musicians with whom we are more familiar; this is why musicologists have recently started showing an increasing interest in him.