Christina Pluhar - Rossi: La lyra d'Orfeo & Arpa Davidica (2019) [Hi-Res]

Tracklist

01. Sances Sinfonia (44.1kHz)
02. Rossi Il palazzo incantato, Prologue Vaghi rivi (Pittura) (44.1kHz)
03. Rossi Begl'occhi che dite (44.1kHz)
04. Rossi L'Orfeo, Act 2 A l'imperio d'Amore (Chorus, Eurydice) (44.1kHz)
05. Rossi Arr. Pluhar L'Orfeo, Act 2 Mio ben (Eurydice) (44.1kHz)
06. Rossi L'Orfeo, Act 3 Dormite, begl'occhi (44.1kHz)
07. Rossi Arr. Pluhar Questo picciolo rio (44.1kHz)
08. Rossi Arr. Pluhar Se dolente e flebil cetra (44.1kHz)
09. Rossi Il palazzo incantato, Act 2 Ballo di fantasmi (44.1kHz)
10. Rossi La bella piu bella il cor mi feri (44.1kHz)
11. Rossi Il palazzo incantato, Act 3 Ritornello (44.1kHz)
12. Rossi Arr. Pluhar Al soave spirar (Lamento di Arione) (44.1kHz)
13. Rossi L'Orfeo, Act 3 Lasciate Averno (Orfeo) (44.1kHz)
14. Rossi Arr. Pluhar Dopo lungo penare (192kHz)
15. Rossi M'uccidete begl'occhi (192kHz)
16. Rossi Arr. Pluhar Ai sospiri, al dolori (192kHz)
17. Marazzoli Arr. Pluhar Dal cielo cader vid'io due stelle (192kHz)
18. Rossi Anime, voi che sete delle furie d'abisso (192kHz)
19. Rossi Gelosia, ch'a poco a poco nel mio cor serpendo vai (192kHz)
20. Rossi Arr. Pluhar L'Orfeo, Act 1 Sol per breve momento (Bradamante) (192kHz)
21. Anon Arr. Pluhar Dimmi sogno pittore (192kHz)
22. Rossi Tra romite contrade (Lamento di Olimpia) (192kHz)
23. Rossi Lascia speranza, ohime! (192kHz)
24. Sances Presso l'onde tranquillo (96kHz)
25. Rossi Arr. Pluhar Il palazzo incantato, Act 3 L'Avignone. Corrente (192kHz)
26. Rossi Arr. Pluhar Quando spiega la notte (192kHz)
27. Rossi Mostro con l'ali nere (192kHz)
28. Rossi L'Orfeo, Act 3 Fantasia. Les Pleurs d'Orphee (192kHz)
29. Rossi Erminia sventurata (Lamento di Erminia) (192kHz)
30. Rossi Arr. Pluhar Io piangea presso d'un rio (192kHz)
31. Rossi Arr. Pluhar Il palazzo incantato, Act 3 Dove mi spingi Amor (Pittura) (192kHz)
32. Rossi Arr. Pluhar Il palazzo incantato Sinfonia avanti al prologo (192kHz)
33. Rossi Arr. Pluhar Taci ohime non pianger piu (192kHz)
34. Anon. S'era alquanto addormentato (192kHz)
35. Rossi Arr. Pluhar L'Orfeo, Act 3 Lagrime, dove sete (Orfeo) (192kHz)
36. Rossi Passacaille del seigneur Luigi (44.1kHz)



The latest album from Christina Pluhar and her instrumental ensemble L’Arpeggiata sheds new light on the chamber cantatas of 17th century Italian composer, Luigi Rossi. He wrote more than 300 of these works and Christina Pluhar’s new double album includes an impressive number of 21 world premiere recordings, which are the fruit of Christina Pluhar’s research among music manuscripts held in the Bibliothèque Nationale de France and the Vatican Library.

“These cantatas are works of rare beauty,” says Pluhar, who describes Luigi Rossi as “one of the shining lights of 17th-century Italian vocal music. Supremely inventive and extremely versatile, he juxtaposed styles within a single work, often shifting from intense recitative to mellifluous song, while also venturing into daring harmonic regions.”

She has assembled a dazzling line-up of singers to perform the cantatas: sopranos Véronique Gens and Céline Scheen, mezzo-soprano Giuseppina Bridelli, and countertenors Philippe Jaroussky, Jakub Józef Orliński and Valer Sabadus.

Luigi Rossi, born in Puglia in 1597, was highly successful in his time, serving three of the most illustrious Italian dynasties – the Borghese and Barberini families in Rome and the Medici in Florence – and subsequently France’s King Louis XIV. His L'Orfeo, which received its premiere in Paris in 1647, was among the first operas to be staged in France. Rossi is also associated with the first Parisian appearances by castrato singers – their voice-type was not integral to France’s musical traditions.

Rossi had gone to Paris in 1646, where he joined the Barberinis, exiled from Rome the previous year following controversy over their handling of Papal funds. Some of their other musicians, including several castratos, also went to France with them. In Rome they had been noted for marking important occasions with commissions for masses, oratorios and operas, among them Rossi’s Palazzo incantato (Enchanted Palace), inspired by Orlando Furioso, which enjoyed a great success in 1642.

At the time, the man who wielded the most power in France was not the King – just four years old when he came to the throne in 1643 – but his godfather and Chief Minister, Cardinal Mazarin. Mazarin, an Italian by birth, enjoyed close links with the Barberini family, which had played an important role in furthering his diplomatic career in the 1630s. He was also a great advocate of Italian style in the arts and it was thanks to him that L’Orfeo, a sumptuously scored work, was lavishly staged at the Palais-Royal before Louis XIV and his mother, Queen Anne of Austria. Rossi returned to Italy in 1650 and in due course another Italian-born composer of opera, Jean-Baptiste Lully (1632-87), became the musical supremo at the court of the Sun King.

Véronique Gens, soprano
Céline Scheen, soprano
Giuseppina Bridelli, mezzo-soprano
Philippe Jaroussky, counter-tenor
Jakub Józef Orliński, counter-tenor
Valer Sabadus, counter-tenor
L'Arpeggiata
Christina Pluhar, harp, theorbo

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