Elina Garanca sings Mozart & Vivaldi | Erato 9029590599

Elina Garanca sings Mozart & Vivaldi

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Label: Erato

Cat No: 9029590599

Format: CD

Number of Discs: 1

Genre: Opera

Release Date: 12th May 2017

Contents

Works

Mozart, Wolfgang Amadeus

Ch'io mi scordi di te ...Non temer, amato bene, K505
Cosi fan tutte, K588
» Ah, scostati!... Smania implacabili, che m'agitate
» Temerari! Sortite fuori ... Come scoglio immoto resta
La clemenza di Tito, K621
» Deh, se piacermi vuoi
La finta giardiniera, K196
» Se l'augellin sen fugge
» Va pure ad altri in braccio (Act 3)

Vivaldi, Antonio

Bajazet (Il Tamerlano), RV703
» Ah, disperato Andronico! (Act 2)
» Coronata di gigli e rose (Act 3 finale)
» E bella Irene! (Act 1)
» Lascero di regnare (Act 3)
» La sorte mia spietata (Act 2)
» Non ho nel sen costanza (Act 1)
» Quel ciglio vezzosetto (Act 1)
» Spesso tra vaghe rose (Act 3)

Artists

Elina Garanca (mezzo-soprano)
Vivica Genaux (mezzo-soprano)
Patricia Ciofi (soprano)
Marijana Mijanovic (mezzo-soprano)
David Daniels (countertenor)
Frank Braley (piano)
Camerata Salzburg
Europa Galante

Conductors

Louis Langree
Fabio Biondi

Works

Mozart, Wolfgang Amadeus

Ch'io mi scordi di te ...Non temer, amato bene, K505
Cosi fan tutte, K588
» Ah, scostati!... Smania implacabili, che m'agitate
» Temerari! Sortite fuori ... Come scoglio immoto resta
La clemenza di Tito, K621
» Deh, se piacermi vuoi
La finta giardiniera, K196
» Se l'augellin sen fugge
» Va pure ad altri in braccio (Act 3)

Vivaldi, Antonio

Bajazet (Il Tamerlano), RV703
» Ah, disperato Andronico! (Act 2)
» Coronata di gigli e rose (Act 3 finale)
» E bella Irene! (Act 1)
» Lascero di regnare (Act 3)
» La sorte mia spietata (Act 2)
» Non ho nel sen costanza (Act 1)
» Quel ciglio vezzosetto (Act 1)
» Spesso tra vaghe rose (Act 3)

Artists

Elina Garanca (mezzo-soprano)
Vivica Genaux (mezzo-soprano)
Patricia Ciofi (soprano)
Marijana Mijanovic (mezzo-soprano)
David Daniels (countertenor)
Frank Braley (piano)
Camerata Salzburg
Europa Galante

Conductors

Louis Langree
Fabio Biondi

About

It was in 2005 that the Latvian singer Elına Garanča first came to the attention of international discophiles thanks to her voice’s natural beauty and her sensitive and intelligent musicality. Both of these qualities were in evidence on her album of Mozart arias for mezzo-soprano and soprano, followed by the world-premiere recording of Vivaldi’s opera Bajazet, in which she took the mezzo part of Andronico.

A mezzo-soprano inevitably risks being eclipsed by starring roles such as the Queen of Night, Turandot, Norma and Mimì, but composers have often written more interesting and more conflicted roles for mezzo-sopranos, whether the characters in question reveal a propensity for intrigue or are simply the innocent victims of a conflict between love and duty. In short, there is a particular dramatic challenge that lies behind this voice-type.

When Mozart moved from Salzburg to Vienna in 1781, he described the imperial city as “the best place in the world for my profession”. And this profession was opera. He was twelve when he wrote his first such work, and by the time that La finta giardiniera was first staged in Munich in 1775, it was the nineteen-year-old composer’s fifth contribution to the medium. The role of Ramiro is a variant of the mezzo parts that Elına Garanča portrays to perfection: that of the “trouser role” in which a female singer takes the part of a man who is passionately in love. In Così fan tutte (1790) Elına Garanča takes two of the female leads, the sisters Fiordiligi (soprano) and Dorabella (mezzo-soprano). Their faithfulness is put to the test by a wager and is found to be wanting.

Shortly after the first performance of Così fan tutte, the Austrian emperor Joseph II died. Like his successor Leopold II, he was not only the Holy Roman Emperor but also the King of  Bohemia. His coronation in Prague in 1791 was accompanied by an opera, La clemenza di Tito, that Mozart wrote specially for the occasion. Composed in a matter of only a few weeks, it praises the clemency of a ruler – in this case the Roman emperor Titus. The jealous Vitellia (soprano) foments a conspiracy against Titus, whom she loves but who chooses another woman over her. He forgives her when her plot miscarries.

Mozart devoted himself to the medium of opera not only through his stage works. “Ch’io mi scordi di te” is a mixture of an aria and a keyboard concerto that he wrote in 1786 for the star soprano Nancy Storace. It is a formal experiment in which he himself played the fortepiano.

Andronico in Vivaldi’s opera Bajazet is another key role. He is allied to Tamerlano, who holds the enemy ruler Bajazet captive. Bazajet’s daughter Asteria is in love with Andronico, but Tamerlano is determined to marry her. Andronico suffers, Asteria believes that she has been betrayed, and Princess Irene, who is promised in marriage to Tamerlano, struggles to escape from her lot. The result is a web of jealousy, power struggles and grand emotions. In 1735 the role of Andronico was taken by Pietro Morigi, one of the legendary Baroque castratos. This is a role in which Elına Garanča is able to combine technical virtuosity, dramatic characterization and the appeal of a trouser role to brilliant effect.

– Oliver Buslau, 2016

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