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Lyrics & Music Alessandro Scarlatti - Inferno: Cantate drammatiche (Modo Antiquo, Elisabeth Scholl)
Posted on 2010-08-03
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More Alessandro Scarlatti - Inferno: Cantate drammatiche (Modo Antiquo, Elisabeth Scholl) APE = 285 mb | MP3 (lame --preset standard) = 93 mb Recorded 2004 | Released 2006 "One of the best I have heard this year." - Musicweb International Personnel: Elisabeth Scholl: soprano Modo Antiquo - Federico Maria Sardelli Recording: 16-19 November 2004, Villa Berg, Stuttgart CPO 777 141-2 Track listing: Già lusingato appieno 1. Sinfonia 2. Già lusingato appieno Recitativo 3. Cara sposa Aria 4. Recitativo Cada sù l'empie schiere Recitativo 5. Sento l'aura Aria 6. Al trono Recitativo 7. Se v'è mai Aria 8. Disse e baciò la sposa Recitativo/Arioso Serenata "Notte, ch'in carro d'ombre" 9. Sinfonia Grave-Allegro 10. Notte, ch'in carro d'ombre Recitativo accompagnato 11. Vieni, o notte, in questo petto Aria (largo e piano) 12. E tu ch'ognor ti vanti Recitativo 13. Veloce e labile fugge e dileguasi Recitativo (Allegro) 14. Ma parmi ch'esaudite Recitativo 15. Con l'idea d'un bel gioire Aria(Largo) 16. Ma voi non vi chiudete Recitativo 17. Si, che priva di contento Aria (Allegrissimo) Il Nerone "Io son Neron, l'imperator del mondo" 18. Io son Neron, l'imperator del mondo Recitativo 19. Vuò che trema Giove ancorna Aria (Andante) 20. Il tirannico cor io non ascondo Recitativo 21. Non stabilisce, no Aria 22. Or coll'abisso istesso Recitativo 23. Veder chi pena Aria 24. Coi furibondi sguardi Recitativo L'Orfeo "Dall'oscura magion dell'arsa Dite" 25. Introduzione 26. Dall'oscura magion Recitativo 27. Chi m'invola laq cara Euridice Aria 28. Ma di che mi querelo Recitativo 29. Si mirando, occhi perversi Aria 30. Hor, poiché mi tradir Recitativo 31. Sordo il tronco Aria 32. Ah, voi m'abbandonate Recitativo 33. Il vanto del canto Aria 34. Cosi dicendo Recitativo 35. Si,pietà de miei martiri Aria Info (liner notes): It is somehow astonishing that Alessandro Scarlatti's (1660-1725) name is known to every music lover. Musicologists praise his oeuvre, a confirmed authorship of more than 600 cantatas, as the climax of baroque cantata composition. However, there is not a specific piece or melody easily associated with Scarlatti. It seems, he was important but forgotten. How is this possible? Alessandro Scarlatti was not a composer for the masses. As maestro di capella to the Spanish Viceroy in Naples he wrote operas for a court audience not for public opera houses such as those in Venice at that time. And his solo cantatas were meant to entertain illustrious circles such as those around the Roman Cardinals Ottoboni and Pamphili or the Price Ruspoli. These connoisseurs allowed him to display his expressive musical skills, with daring harmonies and chromaticism, which at times even his fellow composers deemed to be too eccentric. They were too complex for common audiences. Nevertheless, the high esteem for Scarlatti's works, especially the cantatas, cannot be due solely to the elaborations of his compositions - his cantatas do exist in numerous copies. The four cantatas recorded here confirm that there is more to those pieces. Reviews: Musicweb International Alessandro Scarlatti is generally considered one of the most important Italian composers of the late 17th and early 18th centuries. But his music, although it has received more attention in recent years, is still largely unknown. This is partly due to the large quantity of his output: in the genre of the chamber cantata alone at least six hundred compositions are with certainty attributable to him. (...) This disc is a very impressive demonstration of the art of Alessandro Scarlatti. In these splendid cantatas the composer demonstrates his ability to characterise the protagonists with musical means and to depict the text according to the rules of rhetoric and with masterful use of the 'affetti'. Elisabeth Scholl, who also edited these cantatas, wrote the programme notes and translated the lyrics into English, has done an excellent job in every department. Her singing is impressive, and she expresses the feelings of all protagonists with great care. I especially liked her performance of the recitatives, a weak point in many recordings of baroque vocal music. On past showing she has never struck me as a very dramatic singer, but here she proves me wrong. And the combination of Ms Scholl and Modo Antiquo turns out to be a very happy one. In earlier recordings Federico Maria Sardelli has demonstrated his feeling for theatre, and he does so here again. To sum up: this disc is one of the best I have heard this year. It goes straight into my list of recordings of the year. It is a model of the useful marriage of musicology and splendid music-making. Gramophone Support good artists, their music! Password: aliomodo Check out my other posts! Subscribe to my RSS feed
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