J C Bach - La dolce fiamma (forgotten castrato arias)
£10.35
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Label: Virgin
Cat No: 6945640
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 30th November 2009
Contents
Works
J C BachLa Clemenza di Scipione: Pugna il guerriero
J C Bach
Artaserse - Cavatina: Perche tarda e mai la morte
J C Bach
Sentimi, non partir...Al mio bene - Recitativo: Sentimi, non partir
J C Bach
Sentimi, non partir...Al mio bene - Rondo: Al mio bene
J C Bach
Orfeo ed Euridice: La legge accetto, o Dei
J C Bach
Adriano in Siria: Cara, la dolce fiamma
J C Bach
Adriano in Siria: Tutti nemici, e rei
J C Bach
Carattaco: Perfida Cartismandua!
J C Bach
Carattaco: Fra l’orrore di tanto spavento
J C Bach
Artaserse: No, che non ha la sorte
J C Bach
Artaserse: Vo solcando un mar crudele
J C Bach
Ebben si vada...lo ti lascio: Ebben si vada
J C Bach
Ebben si vada....lo ti lascio - Rondo: lo ti lascio
J C Bach
Temistocle: Ch’io parta
Artists
Philippe Jaroussky (countertenor)Le Cercle de l’Harmonie
Conductor
Jeremie RhorerWorks
J C BachLa Clemenza di Scipione: Pugna il guerriero
J C Bach
Artaserse - Cavatina: Perche tarda e mai la morte
J C Bach
Sentimi, non partir...Al mio bene - Recitativo: Sentimi, non partir
J C Bach
Sentimi, non partir...Al mio bene - Rondo: Al mio bene
J C Bach
Orfeo ed Euridice: La legge accetto, o Dei
J C Bach
Adriano in Siria: Cara, la dolce fiamma
J C Bach
Adriano in Siria: Tutti nemici, e rei
J C Bach
Carattaco: Perfida Cartismandua!
J C Bach
Carattaco: Fra l’orrore di tanto spavento
J C Bach
Artaserse: No, che non ha la sorte
J C Bach
Artaserse: Vo solcando un mar crudele
J C Bach
Ebben si vada...lo ti lascio: Ebben si vada
J C Bach
Ebben si vada....lo ti lascio - Rondo: lo ti lascio
J C Bach
Temistocle: Ch’io parta
Artists
Philippe Jaroussky (countertenor)Le Cercle de l’Harmonie
Conductor
Jeremie RhorerAbout
In his seventh solo disc for Virgin Classics, Philippe Jaroussky explores the rarely performed operas of Johann Christian Bach, known as ‘the London Bach’.
With this recital, the French countertenor, with his voice of “startling beauty” (Classic FM) turns to a composer who – despite his famous surname, his celebrity in his lifetime, and his influence on the young Mozart – is still not given his full due: Johann Christian Bach (1735-1782). This new recital brings together arias from six of his operas, written for Milan, Mannheim and London, the city in which he spent the last 20 years of his life and where, in 1764, he met the Mozart, then a touring child prodigy.
“I like taking on the role of an interpreter who brings forgotten musicians the attention they deserve,” says Jaroussky. “It was time to bring J.C. Bach out of Mozart’s shadow … He was a fan of Mozart’s, but his own worth should be recognised. His music is very intelligently written. It shows off the wind instruments, he was a master of ornamentation and there is a dialogue between voice and orchestra, although the tessitura of the vocal writing presents a real challenge, often ranging across two octaves.”
Jaroussky’s art thrives on virtuoso demands of this kind - as The Times said: “What Jaroussky does with a formidable counter-tenor range is to make the words dance in fleet-footed rhythms – and to tell a story as though it were headline news.” The singer himself has researched this rarely performed music, returning to the original scores: “It’s like searching for hidden treasure”, he says.
The name of one of the operas is familiar, Orfeo ed Euridice, but the aria recorded here was written by Bach for insertion into Act 1 of Gluck’s most famous work.
Jaroussky’s partners on this disc are Le Cercle de L’Harmonie and Jérémie Rhorer.
With this recital, the French countertenor, with his voice of “startling beauty” (Classic FM) turns to a composer who – despite his famous surname, his celebrity in his lifetime, and his influence on the young Mozart – is still not given his full due: Johann Christian Bach (1735-1782). This new recital brings together arias from six of his operas, written for Milan, Mannheim and London, the city in which he spent the last 20 years of his life and where, in 1764, he met the Mozart, then a touring child prodigy.
“I like taking on the role of an interpreter who brings forgotten musicians the attention they deserve,” says Jaroussky. “It was time to bring J.C. Bach out of Mozart’s shadow … He was a fan of Mozart’s, but his own worth should be recognised. His music is very intelligently written. It shows off the wind instruments, he was a master of ornamentation and there is a dialogue between voice and orchestra, although the tessitura of the vocal writing presents a real challenge, often ranging across two octaves.”
Jaroussky’s art thrives on virtuoso demands of this kind - as The Times said: “What Jaroussky does with a formidable counter-tenor range is to make the words dance in fleet-footed rhythms – and to tell a story as though it were headline news.” The singer himself has researched this rarely performed music, returning to the original scores: “It’s like searching for hidden treasure”, he says.
The name of one of the operas is familiar, Orfeo ed Euridice, but the aria recorded here was written by Bach for insertion into Act 1 of Gluck’s most famous work.
Jaroussky’s partners on this disc are Le Cercle de L’Harmonie and Jérémie Rhorer.
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