Surinam Genève

Le finte gemelle was first staged in 1771. Success was immediate and other performances followed both in Italy and abroad. With Le finte gemelle Piccinni returned to a genre he had already tried ten years previously with La Cecchina ossia La buona figliola (1760), on a text by Goldoni. A sweeping success, that masterpiece had made him famous in all theatres well before he found himself at the centre of the well-known dispute between Gluck and Piccinni supporters, which would explode in Paris in 1778, after the performance of his Roland. The present live recording, in co-production with the Opéra de Chambre de Genève, features a young and qualified cast who masterfully render the spirit of this score by Piccini.

Vous serez passionnez de lire cet ouvrage qui met en lumière les secrets du rayonnement de Genève et l’axe du Mont-Blanc, révélés par son extraordinaire Feng-Shui et les « Trois G », la Géométrie sacrée, la Géomancie et la Géobiologie.

"Josquin was the most emblematic composer of his time, famous throughout Europe for his compositions both secular and sacred. This recording explores those two aspects of his output, which are more closely related than one might think. Here in a small line-up, Gli Angeli Genève deliver a virtuoso vocal performance that is sensitive and empathetic. With only two voices per part, they play on the timbre and individuality of each voice, and thus create an intimacy and a meditative mood that invite the listener to share with the singers in the deeply moving humanity of Josquin’s music."

Joseph Eybler was one of the most promising young composers in Vienna when Mozart died in 1791, and it was to him that Constanze Mozart turned for a completion of the already-commissioned Requiem mass. Eybler, whom the often acerbic Mozart had praised in strong terms, had the wit to realize the difficulty of the task, resulting in the path-of-least-resistance completion by Süssmayr that has come down to the present day. The two symphonies on this disc date from the late 1780s. Their model is not so much Mozart but Haydn, with their slow introductions and their striving toward highly original minuets (the Symphony No. 2 has two of them).

Countertenor Max Emanuel Cencic has a truly astonishing voice. The listener could reasonably forget that it's a man who's singing and imagine it's a mezzo with an extraordinary range and coloratura technique. If the cynic were to raise the question of the advisability of a countertenor singing arias originally written for a mezzo-soprano, the answer would simply be "because he can," and the result is pretty fabulous. Terms like "lustrous tone" and "dazzlingly secure technique" and "subtly nuanced interpretations" spring to mind.

Des renseignements pratiques pour organiser son séjour à Genève et dans les environs, accompagnés d'informations historiques, culturelles et touristiques : promenades, curiosités, bonnes tables, hébergement, shopping, services. Une partie consacrée à des escapades en France complète l'ouvrage. Un code permet d’accéder à la version numérique gratuite.