Mozart - Arias for Male Soprano | Telarc TEL3182702

Mozart - Arias for Male Soprano

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Label: Telarc

Cat No: TEL3182702

Format: CD

Number of Discs: 1

Genre: Vocal/Choral

Release Date: 1st March 2010

Contents

Works

Mozart, Wolfgang Amadeus

Exsultate, jubilate, K165
Idomeneo, Re di Creta, K366
» Ah, qual gelido orror ...Il padre adorato (Act 1)
» Overture
La clemenza di Tito, K621
» Deh per questo istante solo (Act 2)
» Overture
» Parto, ma tu ben mio (Act 1)
Lucio Silla, K135
» Ah se a morir mi chiama
» Dunque sperar poss'io ...Il tenero momento (Act 1)

Artists

Michael Maniaci (soprano)
Boston Baroque Orchestra

Conductor

Martin Pearlman

Works

Mozart, Wolfgang Amadeus

Exsultate, jubilate, K165
Idomeneo, Re di Creta, K366
» Ah, qual gelido orror ...Il padre adorato (Act 1)
» Overture
La clemenza di Tito, K621
» Deh per questo istante solo (Act 2)
» Overture
» Parto, ma tu ben mio (Act 1)
Lucio Silla, K135
» Ah se a morir mi chiama
» Dunque sperar poss'io ...Il tenero momento (Act 1)

Artists

Michael Maniaci (soprano)
Boston Baroque Orchestra

Conductor

Martin Pearlman

About

The highly-rated early music ensemble Boston Baroque and its conductor Martin Pearlman join forces with the talented American singer and true male soprano Michael Maniaci in a recording of arias that Mozart originally composed for the castrato voice.

The disc contains arias from Idomeneo, Lucio Silla, and La Clemenza di Tito, as well as the beloved motet Exsultate, jubilate. The recording also includes two brilliant orchestral pieces, the overtures to Idomeneo and Clemenza.

The first permanent Baroque orchestra established in North America, Boston Baroque is widely regarded as one of the world’s premier period-instrument bands. The ensemble's performances and recordings of the Baroque and Classical repertoire have been hailed by audiences and critics in the Americas, Europe, Asia and Australia for their freshness, virtuosity and exuberant appeal. Although Maniaci’s voice is natural, his stunning performances give Boston Baroque the opportunity to add yet another “original” instrument , the male soprano voice, to their performing forces.

A voice type that was enormously popular in opera and religious music in the 17th century but completely disappeared over a century ago, the male castrato’s true chest voice – unlike falsetto singers – was in the soprano or alto range, yet extremely powerful due to the male lung capacity. Up until now, all we have really known of this voice are the verbal descriptions of contemporary listeners and a single, scratchy recording made late in the life of the last castrato performer.

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