Sonia Haoa Cardinale

‘Why arrange Boccherini concertos? To bring out the colours, rhythms, dances, melodies and countermelodies. To reinvent our roles or to exchange them like a game, from one page to another. To make us feel as if we’re on a tightrope. To take advantage of the space of freedom provided by the cadenza to imagine little musical scenarios, stories within the story. Like dreams that have their own logic, their own timescale. So those dreams suddenly yet imperceptibly plunge us into repetitive music, a procession in Spain, a jazz cadenza, an opera… and then we emerge to be reunited with Boccherini, who seems to be the first to enjoy these escapades.’ – Sonia Wieder-Atherton Concertos G479, 477, 476 by Luigi Boccherini. Cadenzas by Sonia WiederAtherton ‘in the footsteps of Miles Davis’, Eric Dolphy, G. F. Handel, Igor Stravinsky, György Kurtág, Michael Riesman. With Françoise Rivalland (cimbalom), Amaryllis Billet (violin), Rémi Magnan (double bass), Robin Billet (bassoon).

Everybody Knows: The Singles Box Set is the complete collection of the classic Stock Aitken Waterman-produced singles released by one of PWL’s best-loved artists, Liverpudlian pop princess Sonia.

The history of opera is inseparably linked with the biographies of singers; audiences have always been fascinated by both musical prowess and behind the scenes goings-on. The battle for prestige and fame was heated and passionate in the Baroque era, with legendary rivalries. Fiercely competitive, Cuzzoni and Bordoni were among the most acclaimed divas of the age, resorting to fisticuffs on stage. Present-day prima donnas Genaux, Prina, Nesi and Basso now follow in the footsteps of their fervid predecessors, presenting on disc a tongue-in-cheek survey of standout arias for mezzo soprano and contralto.

There is definitely no lack of heroic roles in the Gluckian repertory apart from the very well-known Orfeo from Orfeo ed Euridice: many memorable parts were assigned by this composer for the alto voice (either male castratos or female contraltos) - and it is precisely this repertory, written for excellent interpreters and yet still rarely performed today, which is celebrated on this album. As a consequence of a specific historical set of circumstances, Gluck had the good fortune to work with the finest alto singers of his generation: not only Gaetano Guadagni, but also Giovanni Carestini, Vittoria Tesi and many others.

Sonia, Love Train (The Philly Album) was scheduled for release but was suddenly pulled back and most copies were destroyed, leaving just a few CDs that had already gone to shops in circulation. The album has never been officially released on CD or download, until now. Remastered by the original producer Steve Levine to the highest standards, we are incredibly proud to offer this album to the public for the first time across these editions. The tracks are all affiliated with the amazing releases from the Philadelphia International label, but completely re-imagined and delivered by Sonia, showcasing a soulful side to her vocals, that had been previously unheard. The “B” side to the 90’s single (“Wake Up Everybody”), “Nowhere Left To Hide” has been added as a bonus track.

“For me, whenever I play the Bach suites, all of a sudden I find myself visualising Giacometti’s hands incessantly moulding the earthen clay until a face appears. Getting to grips with the Bach suites is very closely related to that sense. You have to dig deeply into the string to give birth to the phrase, to make sure it breathes correctly: a phrase that is perpetually becoming, endlessly making and remaking itself. I waited a long time before recording these suites. Then one day, or rather one night, I began.Then there was my meeting with Sarah Moon. When I first felt my longing to record the Bach suites, I dreamt constantly of her images; because whenever I look at them I think of the creation of the world, the separation of the waters, the earth appearing, all before the beginning of history.”

The Verdi Messa da Requiem is probably the best known Requiem in the repertoire. Many great conductors have recorded it. I’m thinking of Toscanini at New York/1951, Victor De Sabata at Milan/1954 and probably the best known of all Carlo-Maria Giulini at London/1964-65. Some more recent versions have proved popular notably John Eliot Gardiner using period instruments in London/1992, Claudio Abbado at Berlin/2001 and also Nikolaus Harnoncourt at Vienna/2004.