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Ann Hallenberg Mezzo-Soprano

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Ann Hallenberg Mezzo-Soprano Ann Hallenberg mezzo-soprano Francesca Cassinari , soprano [tracks 03, 11] Stile Galante Eva Saladin, Rossella Borsoni, Isabella Bison, first violins Claudia Combs, Elisa Imbalzano, Olga Popova , second violins Nadine Henrichs, Isabel Juárez, viola Agnieszka Osza n´ka, violoncello Szilárd Chereji, Daniele Rosi, double bass Andrea Friggi, harpsichord Aviad Gershoni, Claudia Anichini, oboes Pierre-Antoine Tremblay, Ricardo Rodríguez García, horns Giovanni Battista Graziadio, Niki Fortunato, bassoon Silvia Tuja, Mattia Laurella, flutes Ja¯nis Tretjuks, Matthias Deger, clarinets Matteo Frigé, Matteo Macchia, trumpets Stefano Aresi, direction g r e b ––––– n e l l a H n n A Arias for Luigi Marchesi 09 superbo di me stesso 5:35 [Megacle – Domenico Cimarosa (1749-1801), L’Olimpiade ] The great castrato of the Napoleonic era 10 se cerca, se dice 5:04 [Megacle – Josef Myslive cˇek (1737-1781), L’Olimpiade ] wv 11 qual mi sorprende e aghiacci a 1 8:33 01 vedo l’abisso orrendo 6:02 Scena e Aria della Marcia - recitativo [Rinaldo – Giuseppe Sarti (1729-1802), Armida e Rinaldo ] [Pirro, Polissena – Niccolò Antonio Zingarelli, Pirro ] 02 rendi, oh cara, il prence amat o 1 5:49 12 cara, negl’occhi tuo i 1 4:42 [Megacle – Giuseppe Sarti, L’Olimpiade ] Scena e Aria della Marcia - aria [Pirro – Niccolò Antonio Zingarelli, Pirro ] 03 chi mi dà consiglio, ait a 1 6:54 [Pirro, Polissena – Niccolò Antonio Zingarelli (1752-1837), Pirro ] 13 quanto è fiero il mio torment o 3 6:32 [Poro – Luigi Cherubini, Alessandro nelle Indie ] 04 lungi da te, ben mi o 2 3:15 [Rinaldo – Giuseppe Sarti, Armida e Rinaldo ] 1 Original ornaments and cadenzas by Marchesi. 2 Ornaments by Angelica Catalani and cadenza by Domenico Corri. 05 oh qual contento 3:21 3 Bonus track with alternative ornaments by Marchesi. [Lauso – Johann Simon Mayr (1763-1845), Lauso e Lidia ] The cadenzas in all the other arias are based on Marchesi and Giovan Battista Mancini. 06 quanto è fiero il mio torment o 1 6:32 [Poro – Luigi Cherubini (1760-1842), Alessandro nelle Indie ] Recorded in Bergamo (Sala Piatti) on 5-9 April 2015 | Engineered and produced by Christoph Frommen Digital editing: Andrea Friggi, Christoph Frommen & Stefano Aresi 07 misero pargolett o 1 4:52 Production assistants: Luca Benedetti, Federico Franchin, Federico Zavanelli [Timante – Gaetano Pugnani (1731-1798), Demofoonte ] Executive producer and editorial director: Carlos Céster | Editorial assistance: María Díaz Design: oficinatresminutos.com | Photographs of the artists, and photos on pages 12 and 29: Minjas Zugik 08 sembianze amabili 3:55 Scores prepared by Holger Schmitt-Hallenberg [Castore – Francesco Bianchi ( c.1752-1810), Castore e Polluce ] © 2015 note 1 music gmbh 4 5 arias for luigi marchesi arias for luigi marchesi i r a n i s s i a s e C r a A c s o e n c a n f a e r t S F Stile Galante and Ann Hallenberg would like to thank for their support: Mara Aresi, Cristina Barnabò, Enrica Borsari, Sandra and Elisa Cacia, Rosa Cafiero, Benigno Calvi, Maria Caraci, Cinzia Castelli, Francesco Chiodaroli, cmb di Curnasco, Damien Colas, Kikko Cornelli, e Francesca Gandolfi, Leopoldo Longobardi, Giuseppe Maino, Maria Mandelli, Luca Marcarini, Ivan Melli, t n a Gabriella Molina, Mariagrazia Paloni, Maddalena Pasinetti, Alberto Pettinelli, Giuseppe Pezzoni, l a G Michael Sawall, Holger Schmitt-Hallenberg, Claudia Vela, Minjas Zugik, and all the crowdfunding donors. e l i t S 6 7 arias for luigi marchesi arias for luigi marchesi castratos” and the “very best of his kind”. Later writers per musica . According to some sources, his artistic did and said (theatrical or otherwise) undeniably rep - such as François-Joseph Fétis were, even in the middle approach exemplified to perfection the decline in the resented a social phenomenon at the end of the eigh - Arias for of the nineteenth century, referring to the enthused operatic spectacle, whilst for others the castrato was teenth century. recollections of spectators, moved and astounded by a participant in a kind of vocal Trinitarian mystery Luigi Marchesi his vocal exhibition. alongside Gaspare Pacchierotti and of Giovanni Maria wv Rubinelli. One thing is clear: in the course of his long wv career, begun in 1765 as a chorister in the naves of the On May 14, 1796, Napoleon Bonaparte made his victo - cathedral in Milan and finished in 1805 at the Teatro rious entry into Milan. According to various witnesses, Like any other celebrity, this singer was surrounded de la Scala, where he was acclaimed as “the Apollo of he issued a demand to hear the famous castrato Luigi by legends and myths, most importantly those depict - his times”, Marchesi sailed across his epoch, emphat - Marchesi (175 4- 1829), then living in that city. The con - ing him as a temperamental circus performer, who ically leaving his public divided between a large majority temptuous refusal of the singer, hostile to the invader, sometimes prepared spectacular stage entrances or of enthusiasts and a solid and active minority criticizing for years provoked such an outcry that the poet Vittorio required composers to write any dazzling arias for the abuses attributed to the excessive (sometimes dis - Alfieri immortalized him in a celebrated epigram, with him alone. Needless to say, historical reality rather passionately coming over as bizarre) whims of his the echoes of Marchesi’s rebuff resounding in the pro- digresses from this kind of contemporary gossip, which interpretations. Napoleon pamphlets well into the nineteenth century. was often based upon the rather strange inventions For many years Marchesi worked in close contact A brief house arrest in his villa in Inzago made our hero put forward by Stendhal or upon lesser and later hagio - with (and as a partner of) the most prominent com - listen to reason and, ten years later, in May 1805, he was graphical writings. posers: Anfossi, Sarti, Zingarelli, Cherubini, Salieri, to be seen at the forefront of other musicians at the The trajectory of Marchesi’s career and life story Tarchi, Alessandri, Bianchi, Martín y Soler, Myslive cˇek , celebrations held for the crowning of Napoleon as the slots neatly into the musical (strong and dynamic as Pugnani and Pavesi. Sought after by figures such as King of Italy (having recently been anointed as Emperor it was) and European social development which over - Catherine the Great of Russia or the Holy Roman of the French). lapped with the last days of the Ancien Régime, its Emperor Joseph II, Marchesi was acquainted with the Who then was Marchesi? And why did his refusal collapse and subsequent reestablishment. This was a young Paganini, established close friendships with mem - to sing before Napoleon cause such a stir? The answer critical time for the castratos, tallying with the readying bers of the aristocracy and with figures from the visual is very simple: Luigi Marchesi was one of the most for their exit from the world of opera: if the political arts (notably the Cosway couple and Appiani ), became renowned singers from the end of the eighteenth cen - upheavals failed to disturb (rather to the contrary the leading light of a number of charitable concerns in tury. According to the public intellectual Benedetto they magnified) the singer’s activity, the ideological Milan and very soon, for better or worse, a model of Frizzi, the distinguished representative of the Jewish barrage of the Age of Enlightenment in Northern the society in which he lived; personalities such as community in Trieste, who had heard him sing in Ginevra Italy proved to be important for the more educated Foscolo, Burney, von Zinzendorf, the Verri brothers, di Scozia by Mayr in 1801, Marchesi should be considered public which was, as a consequence, able to understand Casanova or Mozart wrote of their enthusiasm, admi - as representing “the infinity and personification of the the role played by Marchesi in the world of the dramma ration or disdain for him. So, everything that Marchesi english | 8 english | 9 arias for luigi marchesi arias for luigi marchesi The documents which discuss Marchesi as a musician, cadenzas for one recitative and various arias composed (four variations for each aria) transcribed by Václav Traces of Marchesi’s form of hyper-ornamentation sometimes in a very detailed fashion, above all convey for him, written down on paper by competent listeners Pichl and endorsed by both the singer and the composer. clearly emerge in a piece written some years before the amazement of listeners: amazement at his incredible with the purpose of leaving an imperishable souvenir Embellishments by the sopranist for other sections in Pirro : the aria, Quanto è fiero il mio tormento from an range, amazement at the power of his delivery in his of his art. These annotations (in the majority of the this opera also survive in manuscript form. The triumph opera by Cherubini, Alessandro nelle Indie . First per - lower register, amazement at the incredible speed of cases, meticulously precise concerning pitch, rhythmic of Pirro enabled it to form part of the repertory for formed in Mantua in 1784, the opera score is today his coloratura passages, amazement at the continual values, dynamics and phrasing), combined with copious many years; after its première at La Scala, it was per - kept in manuscript form in various European libraries variety and the originality of his ornamenting. A cool firsthand accounts from those who heard the castrato formed from Venice to Vicenza, from Bergamo to and contains the attraction of fifteen different bars indifference whilst on stage and an inability to be perform, are capable of providing us with an incredibly Faenza, as well as in Vienna. The work’s great beauty with original variations, these also having been tran - expressive as highlighted by the most critical witnesses detailed picture, confirming the recognized character - and the particularly innovative dramatic options put scribed on the spot by Pichl.
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