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 01. Gianluca Belfiori Doro "Didone: Act I: Finale: Passata dell'armata" 02. Gianluca Belfiori Doro "Didone: Act II Scene 5: Smoderati Insolenti (Nettuno)" 03. Gianluca Belfiori Doro "Didone: Act III Scene 6: Dormi o cara (Enea)" 04. Roberto Abbondanza "Didone: Act III Scene 11: Porgetemi la spada (Didone)" 05. Gianluca Belfiori Doro "Didone: Act III: Finale: Son le tue leggi Amore (Jarba) - Godiam dunque godiamo! (Jarba, Didone)" 06. Gianluca Belfiori Doro "Egisto: Act II Scene 1: D'Hipparco (Egisto lamento) - Lasso io vivo - Ma di chi mi lamento (Egisto)" 07. Roberto Abbondanza "Egisto: Act III Scene 9: Rendetemi Euridice! (Egisto, Clori, Climene, Lidio, Hipparco)" 08. Rosita Frisani "Ormindo: Act I Scene 8: Piante fiorite (Ormindo)" 09. Mario Cecchetti "Ormindo: Act I Scene 8: Fortunato mio cor (Erisbe)" 10. Mario Cecchetti "Ormindo: Act I Scene 8: A Dio (Erisbe, Amida, Ormindo)" 11. Rosita Frisani "Ormindo: Act III Scene 12: Io moro! (Erisbe, Ormindo)" 12. Mario Cecchetti "Ormindo: Act III Scene 13: Oh ritrovato padre (Ormindo)" 13. Mario Cecchetti "Ormindo: Act III: Finale: D'Amor non si quereli (Erisbe, Ormindo)" 14. Gloria Banditelli "Giasone: Act I Scene 2: Delitie e contenti (Giasone)" 15. Gloria Banditelli "Giasone: Act I Scene 7: Son qui - Son gobbo son Demo - Linguaggio curioso (Demo, Oreste)" 16. Gloria Banditelli "Giasone: Act II Scene 3: Ecco il fatal castello - Ti lascio (Medea, Giasone) - Ritornello" 17. Mario Cecchetti "Giasone: Act III Scene 21: Ahi fato avverso (Giasone) - Isifile lamento: Infelice (Isifile)" 18. Gloria Banditelli "Giasone: Act III Scene 21: Godi Isifile (Isifile, Medea)" 19. Gloria Banditelli "Calisto: Act I Scene 10: Piacere maggiore (Calisto, Diana, Linfea)" 20. Gloria Banditelli "Calisto: Act I Scene 11: Piangete (Calisto)" 21. Gloria Banditelli "Calisto: Act II Scene 1: Erme e solinghe - Lucidissima face (Endimione)" 22. Gloria Banditelli "Calisto: Act III Scene 7: Dolcissimi baci (Endimione, Diana)" 23. Gloria Banditelli "Calisto: Act III: Finale: Mio Tonante (Calisto, Mercurio, Giove)"
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| | Informations supplémentaires: |
W/ Sergio Vartolo |
| | Description: | Although this overview of Cavalli's music is necessarily condensed, it nonetheless succeeds in painting a meaningful picture of both the nature of opera as it was developing in Venice at the time, and the composer's own artistic and compositional talent. Cavalli was of course influenced by Monteverdi, yet he imbued his music with his own individual style, in effect setting the artistic seal on the rest of the seventeenth century. The tales told by these early operas had a lot in common with our soap story-lines. Heroes undergo the unlikeliest of hardships, become involved in unrestrained love affairs, get caught out in embarrassing situations, and so on, only for everything to be rapidly unraveled for an unambiguously happy ending, removing all concerns from the minds of a rapt audience (the operatic star system had not yet established itself at this point). There was a sense of liberation from the purely aural allusiveness of the madrigal form, as well as from the compositional and performance difficulties also associated with it, and an increasing interest in the visual impact of the sets and costumes that were soon to become the norm. Madrigal quartets, quintets and sextets were on their way out, seen as music for an aesthetic elite, to be replaced by the more approachable duets. There is perhaps an analogy to be drawn with our own times, in which the spoken and written word are being replaced by a TV videocracy, whose power is taking hold in the same way as opera did in the seventeenth century. By happy coincidence, however, Cavalli was born at precisely the right time and place, and his genius was translated into intricate, convoluted love stories and impetuous passions and rages expressed with perfect aesthetic and expressive musical symbiosis in masterly passacaglias. The Lament can be seen as a kind of condensed version of this artistic sensibility, an opera in miniature, and is therefore essential to the history of opera (cf. The three Lamenti Barocchi CDs I have recorded with Naxos). This kind of love lyric, in which languor alternates with fury, and invective is followed by immediate repentance ("What have I said? What unhappy ravings are these?") drew inspiration from both historical and contemporary episodes (Lament of the Queen of Sweden, Lament of Cinq-Mars), and then moved on to self-mockery in semi-serious laments (such as the Lament of the Castrato - whose details are indelicate in the extreme but fascinating in historical terms - or that of the Impotent Man)., Runningtime: 00:00:00, Labelcode NXS8557746.2 | | | N° de titres: |
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| | N° de fabricant: |
8557746 |
| Sécurité des produits
Personne responsable pour l'UE:
NAXOS RIGHTS (EUROPE) LTD
41-51 Brighton Road, Surrey RH1 6YS Redhill, UK
info@naxos.com | |
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