La Venexiana & Claudio Cavina - Francesco Cavalli: Artemisia (2011)

26 Jun, 14:06
change text size:

Artist: La Venexiana, Claudio Cavina
Title: Francesco Cavalli: Artemisia
Year Of Release: 2011
Label: Glossa
Genre: Classical
Quality: FLAC (image + .cue, log, artwork)
Total Time: 02:27:35
Total Size: 591 MB
WebSite: Album Preview

Tracklist:

CD 1:
01 Sinfonia. Artemisia, Eurillo, Indamoro: Dure selci
02 Artemisia, Meraspe: Ecco il mio vago
03 Meraspe, Ramiro, Artemia: Dubbia m’appar
04 Oronta, Niso: Che saetti ed incateni
05 Alindo, Oronta, Niso: Son le luci ch’adoro
06 Ramiro, Artemia, Meraspe: Quando il cor
07 Artemisia, Artemia, Meraspe: Amori, eh?
08 Indamoro, Artemisia, Meraspe: Pur ando l’importuno
09 Meraspe, Artemisia, Eurillo, Ramiro: Gl’artefici o Regina
10 Erisbe, Niso: Su l’April
11 Artemia, Ramiro: Zeffiretti placidetti
12 Artemisia, Meraspe: Hor che soli restiamo
13 Artemisia, Meraspe, Alindo: Clitarco prenditi un fior
14 Oronta, Alindo, Niso: Gran favor! Gran mercede!
15 Artemia, Ramiro: Ardo, sospiro, e piango
16 Alindo, Artemisia, Meraspe: Gia del vostro Nettuno
17 Niso, Erisbe: Cari, cari vegetabili

CD 2:
01 Oronta, Alindo: S’Amor vuol cosi
02 Artemisia, Meraspe, Indamoro: Che sospiri Clitarco?
03 Artemia, Ramiro: Ver me un sol fiato
04 Niso, Erisbe, Eurillo: Perdon ti chiedo
05 Indamoro, Artemisia, Eurillo, Niso, Erisbe: Di trombe guerriere
06 Erisbe, Niso: Niso, Niso!
07 Meraspe, Artemisia: Cara, cara de gl’occhi miei
08 Artemisia, Alindo, Artemia, Meraspe: Ella e qui
09 Erisbe, Niso, Eurillo: Hor vieni ad abbellirmi
10 Artemia: Se Meraspe crudel
11 Meraspe, Artemisia: Altri e gradito
12 Meraspe, Artemisia, Alindo: Che gratie!
13 Artemia, Ramiro: Dir, ch’io v’amo
14 Artemisia, Indamoro: Indamoro!
15 Erisbe, Eurillo, Niso: Se tu vuoi ch’io t’ami

CD 3:
01 Artemia: Ch’io peni cosi
02 Artemisia, Artemia, Meraspe: Artemia?
03 Oronta, Alindo: Dammi morte
04 Artemisia, Meraspe: Ecco il mio bene
05 Artemisia, Indamoro, Meraspe, Artemia: Servi, o la
06 Erisbe, Niso, Eurillo: Dite il vero, son nera?
07 Artemisia, Eurillo: Cor mio che sara
08 Alindo, Artemisia: E che fia mai quel foglio?
09 Artemisia, Meraspe: Veggio venir Clitarco
10 Ramiro, Alindo, Artemia: Hor siate a preghi miei
11 Artemisia, Meraspe: Al fin vuole il mio Fato
12 Erisbe, Niso, Eurillo: Non oso alzar le ciglia
13 Meraspe, Oronta: Respiri, chiudete
14 Oronta, Indamoro, Artemisia, Meraspe: Ma’ sen viene Artemisia
15 Alindo, Artemisia, Eurillo: Regina?
16 Oronta, Meraspe, Artemisia, Alindo, Artemia, Ramiro, Eurillo: Ecco Alindo

It's not necessary to make extravagant claims for Francesco Cavalli's originality to recognize his absolute mastery of the style of mid-17th century Venetian opera perfected by Monteverdi in L'incoronazione di Poppea. The fact that he was able to keep the operatic form so fresh and vital (and most importantly, hugely entertaining) for more than a generation after Monteverdi's death is achievement enough. The modern revivals of more and more unknown Cavalli operas continue to add luster to his legacy. Artemisia overflows with examples of the first-rate inventiveness of Cavalli's imagination; examples include the magical triple echoes of Eurillo's second-act "Regina, udiste mai"; the ravishing lyricism of the aria "Ardo, sospiro, e piango"; and the expressive intensity of his slithering Gesualdo-like harmonic digressions. Like Monteverdi (and all great opera composers), Cavalli had a consummate gift for using music to drive the drama forward, and Claudio Cavina knows how to exploit that gift; he and his ensemble La Venexiana make this obscure opera spring to startling life. His singers throw themselves into their roles with unguarded passion, and even though the details of the plots may be impenetrable, the characters' emotions are urgently immediate. All of the soloists are superb. Sopranos Francesca Lombardi Mazzulli, Roberta Mameli, Valentina Coladonato, and Silvia Frigato stand out; they are simply remarkable for the piercing purity and fullness of their voices, the extravagant agility of their coloratura, and the transparent honesty of their characterizations. The instrumental ensemble plays with wonderful fluidity and Cavina draws a maximum of timbral variety from his group of 12 bowed and plucked strings. The upper strings have a somewhat nasal quality that may require a period of adjustment for modern listeners. Like Cavina's exemplary 2010 recording of L'incoronazione di Poppea with La Venexiana, his world-premiere recording of Artemisia raises the bar very high for performances of Baroque opera, or any opera, for that matter. Glossa's sound is characteristically natural, absolutely clean, and warmly enveloping. Highly recommended. -- Stephen Eddins

IsraCloud