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Arias for Domenico Gizzi January 2015 a Star Castrato in Baroque Rome

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Arias for Domenico Gizzi January 2015 a Star Castrato in Baroque Rome GCD 922608 New release information Arias for Domenico Gizzi January 2015 A star castrato in Baroque Rome NOTES (ENG) NOTES (FRA) A new Antonio Florio-directed recording from Le dernier enregistrement de Antonio Florio pour Glossa, once more focusing on a famous Italian Glossa, une fois de plus dédié à un célèbre singer from the Baroque era, again features chanteur italien de l’époque baroque, nous the gorgeous vocal qualities of a modern-day permet d’admirer de nouveau les mille et une Italian interpreter of such music, Roberta qualités vocales de Roberta Invernizzi. Cette Invernizzi. This new and glorious succession of interprète rêvée évoque à merveille virtuoso arias had captivated audiences in the l’envoutement du public écoutant les arias newly-reopened Roman theatres through the virtuoses, enregistrées ici, dans la voix d’un vocal chords of one eminent singer from 1718 éminent chanteur lors de la réouverture des onwards... théâtres romains en 1718. Arias for Domenico Gizzi traces the spectacular Arias for Domenico Gizzi retrace la carrière career of an artist whose importance lay not spectaculaire d’un artiste dont l’importance ne just in his voice, but his skill in being engaged dépend pas seulement de sa voix mais de son Arias for Domenico Gizzi to sing in operas which served the political habilité à se faire engager dans des opéras A star castrato in Baroque Rome needs of the powerful early 18th-century servant les politiques des puissant mécènes à patrons: from Queen Christina of Sweden and l’aube du XVIIIe siècle, de Christine de Suède Roberta Invernizzi James Stuart, “The Old Pretender” to Roman et James Stuart aux prestigieux cardinaux I Turchini cardinals. Roberta Invernizzi’s choice of arias romains. Las arias de Domenico Gizzi choisies Antonio Florio from across Gizzi’s years of glory, typically par Roberta Invernizzi, datant de la gloire du representing heroic male characters, draws on castrato et représentant typiquement des héros PROGRAMME operas by Alessandro Scarlatti, Leonardo Vinci, masculins, proviennent d’opéras de Alessandro Domenico Sarro, Francesco Feo, Giovanni Scarlatti, Leonardo Vinci, Domenico Sarro, 01 Francesco FEO Battista Costanzi, Giovanni Bononcini and Nicola Francesco Feo, Giovanni Battista Costanzi, Prima ’l vorace fulmine (Andromaca) Porpora. Giovanni Bononcini et Nicola Porpora. 02 Leonardo VINCI Amor che nasce (Didone abbandonata) As ever, Antonio Florio leads a zestful I Turchini Antonio Florio dirige avec son éternel brio les 03 Alessandro SCARLATTI for this new recording, whilst Giulia Veneziano, enthousiastes Turchini, tandis que le texte de Crude Parche (Telemaco) in her booklet essay, opens up what, for many, la musicologue Giulia Veneziano explore un 04 Alessandro SCARLATTI will be a previously uncharted voyage into the territoire, encore peu connu, de l’histoire du Sinfonia (Telemaco) history of singing in its own right. chant. 05 Alessandro SCARLATTI O a morire o a goder (Telemaco) 06 Giovanni Battista COSTANZI Per due pupille belle (Eupatra) 07 Giovanni BONONCINI NOTAS (ESP) NOTIZEN (DEU) Amore inganna (Etearco) 08 Giovanni BONONCINI La nueva grabación de Antonio Florio para Diese neue Glossa-Aufnahme mit Antonio Florio Barbari siete, o Dei (Etearco) Glossa, nuevamente centrada en un famoso stellt mit Domenico Gizzi abermals einen 09 Domenico SARRO cantante italiano del periodo barroco, vuelve berühmten italienischen Sänger des Barock in Sinfonia (Ginevra principessa di Scozia) a mostrar las espléndidas cualidades vocales den Mittelpunkt. Roberta Invernizzi, eine 10 Domenico SARRO de una intérprete actual de estas músicas, herausragende italienische Sängerin unserer Povero amor tradito (Ginevra principessa...) Roberta Invernizzi. Las arias virtuosísticas aquí Tage, weiß diese Musik wie keine zweite zu 11 Nicola PORPORA grabadas habían cautivado al público de los interpretieren. Die hier eingespielten virtuosen Volo il mio sangue a spargere (Adelaide) recientemente reabiertos teatros romanos a Arien haben das Publikum fasziniert, seitdem 12 Domenico SARRO través de las cuerdas vocales de un eminente sie ab 1718 in den neu eröffneten römischen La brama di regno (Il Valdemaro) cantante a partir de 1718... Theatern erstmals erklungen sind... 13 Domenico SARRO Cieca nave, infidi sguardi (Ginevra...) Arias for Domenico Gizzi esboza la espectacular Arias for Domenico Gizzi zeichnet die 14 Francesco FEO carrera de un artista cuya importancia no spektakuläre Karriere eines Künstlers nach, No, non mi basterà (Andromaca) solamente se debe a su voz, sino a su habilidad dessen Fähigkeiten nicht nur in seiner Stimme 15 Leonardo VINCI para ser llamado a participar en óperas que lagen. Er verstand es auch, sich bei den Mäzenen Su la pendice alpina (Didone abbandonata) servían a las necesidades políticas de los des frühen 18. Jahrhunderts unentbehrlich zu poderosos patronos del siglo XVIII temprano: machen (so etwa Königin Christina von PRODUCTION DETAILS desde la Reina Cristina de Suecia y James Schweden, James Stuart oder verschiedene Stuart hasta los cardenales romanos. Las arias römische Kardinäle), sodass er häufig für Opern Total playing time 56:49 de Gizzi elegidas por Invernizzi, procedentes engagiert wurde, die politischen Zwecken Recorded in Naples on 5-8 February 2014 de los años de gloria del castrato y típicamente dienten. Roberta Invernizzi hat Arien aus Gizzis Engineered and produced by Rino Trasi en la piel de personajes heroicos masculinos, erfolgreichsten Jahren ausgewählt, die aus Booklet essay by Giulia Veneziano pertenecen a óperas de Alessandro Scarlatti, Werken von Alessandro Scarlatti, Leonardo English - Français - Italiano - Deutsch Leonardo Vinci, Domenico Sarro, Francesco Vinci, Domenico Sarro, Francesco Feo, Giovanni Made in Austria Feo, Giovanni Battista Costanzi, Giovanni Battista Costanzi, Giovanni Bononcini und Nicola Bononcini y Nicola Porpora. Porpora stammen und oft von männlichen Heldenfiguren gesungen werden. Como siempre, Antonio Florio dirige con brío a unos estupendos I Turchini, mientras la Antonio Florio steht an der Spitze der wie immer musicóloga Giulia Veneziano traza en los textos mitreißenden Turchini, und Giulia Veneziano del libreto lo que para muchos resultará territorio ermöglicht in ihrem Booklettext Einblicke in previamente inexplorado en la historia del bisher nur wenig bekannte Aspekte der canto. Geschichte des Gesangs. www.glossamusic.com.
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