Cavalli - Sospiri d’amore | Glossa GCD920940

Cavalli - Sospiri d’amore

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Label: Glossa

Cat No: GCD920940

Format: CD

Number of Discs: 1

Genre: Vocal/Choral

Release Date: 10th June 2016

Contents

Works

Cavalli, Francesco

Il Ciro
» Corone ed horoni
Il rapimento di Elena
» Io chiudo nel core
L'Egisto
» Hor che l'aurora
L'Eritrea
» O luci bella
L'Orimonte
» Qui cade al tuo pie
L'Ormindo
» D'Amor non si quereli
» Si, si, che questa notte
La Veremonda
» Ne meste piu
Muzio Scevola
» L'aspetto feroce
Pompeo Magno
» Alpi gelate
Scipione affricano
» Io misero fui Rege
Statira
» Lassa, che fo
» Vanne intrepido o mio bene

Artists

Giulia Semenzato (soprano)
Raffaele Pe (alto)
La Venexiana

Conductor

Claudio Cavina

Works

Cavalli, Francesco

Il Ciro
» Corone ed horoni
Il rapimento di Elena
» Io chiudo nel core
L'Egisto
» Hor che l'aurora
L'Eritrea
» O luci bella
L'Orimonte
» Qui cade al tuo pie
L'Ormindo
» D'Amor non si quereli
» Si, si, che questa notte
La Veremonda
» Ne meste piu
Muzio Scevola
» L'aspetto feroce
Pompeo Magno
» Alpi gelate
Scipione affricano
» Io misero fui Rege
Statira
» Lassa, che fo
» Vanne intrepido o mio bene

Artists

Giulia Semenzato (soprano)
Raffaele Pe (alto)
La Venexiana

Conductor

Claudio Cavina

About

Two bright talents to have emerged from Italy recently, Giulia Semenzato and Raffaele Pe, join forces for a dazzling collection of operatic arias and duets by that Baroque master of amorous emotions, Francesco Cavalli.

Soprano and countertenor are supported by the modern master of Italian Baroque style, Claudio Cavina, who directs La Venexiana.

Working in Venice with some of the best Italian librettists around in the mid-17th century, Cavalli mined rich emotional seams in his operas conjuring up a stream of productions which enjoyed great artistic and financial success. His influence travelled far and wide, and this included Rameau, Lully, Handel and Purcell in the Baroque period alone.

With five full-scale duets amongst solo arias, ariosos and recitar cantando, this new Glossa recording gloriously shows off the talents of the Venetian, Semenzato, and the Lombard, Pe, who have been gathering important stage experience in the operas of Cavalli. Space is also found for one of the vocal genres which Cavalli can lay claim to instigating – the dramatic lamento, here in the form of ‘Lassa, che fò’ from Statira.

A further intriguing picture of Cavalli and his operatic inspiration is to be found in the booklet essay written by Olivier Lexa.

Reviews

This is public opera rendered with private immediacy and intensity, and although some might miss the brass flurries and fanfares of other recordings, there’s such dramatic flexibility in these arias, ariosos and duets that it’s easier to accept a narrower textural canvas.  Alexandra Coghlan
Gramophone July 2016
Alongside their outstanding surveys of the madrigals of Gesualdo, Monteverdi and their contemporaries, Claudio Cavina and his superb group have also begun to explore the music of Francesco Cavalli. ... This Venexiana collection can only hint at the full extent of that influence and what treasures might still be rediscovered as more and more of Cavalli’s operas return to the stage. (He is known to have composed 32, of which half a dozen are lost.) What’s here, though, from works such as Eritrea, Orimonte and Veremonda, Muzio Scevola, Scipione Affricano and Pompeo Magno, is more than enough to whet anyone’s appetite. ... Semenzato and Pe are a beguilingly smooth-toned and compelling pair of soloists, always treating the words as if they mean something dramatically, and are not merely supports for Cavalli’s elegant musical lines.  Andrew Clements
The Guardian 20 May 2016

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