Miriam Albano, Academia Montis Regalis and Diego Ares - Heinichen: Italian Soprano Cantatas (2026) [Hi-Res]
Artist: Miriam Albano, Academia Montis Regalis, Diego Ares
Title: Heinichen: Italian Soprano Cantatas
Year Of Release: 2026
Label: CPO
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks)
Total Time: 01:05:51
Total Size: 346 MB / 1.22 GB
WebSite: Album Preview
Tracklist:Title: Heinichen: Italian Soprano Cantatas
Year Of Release: 2026
Label: CPO
Genre: Classical
Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks)
Total Time: 01:05:51
Total Size: 346 MB / 1.22 GB
WebSite: Album Preview
1. 26 Cantatas: No. 1, La virtù nel giorno di Gioseffa: Recitativo. Fosche tenebre e dense (0:45)
2. 26 Cantatas: No. 1, La virtù nel giorno di Gioseffa: Aria. Dove il cielo (3:08)
3. 26 Cantatas: No. 1, La virtù nel giorno di Gioseffa: Recitativo. In me fissate (0:28)
4. 26 Cantatas: No. 1, La virtù nel giorno di Gioseffa: Aria. Per opre leggiadre (3:33)
5. 26 Cantatas: No. 1, La virtù nel giorno di Gioseffa: Recitativo. E se d'esempio i vostri cori (1:09)
6. 26 Cantatas: No. 1, La virtù nel giorno di Gioseffa: Aria. Alle tarde età lontane (3:22)
7. Cantata nel giorno di Christiano: Aria. Di giubilo tutto abbondo di gioia (4:10)
8. Cantata nel giorno di Christiano: Recitativo. Per mirar Christiano illustre (2:09)
9. Cantata nel giorno di Christiano: Aria. La bella tortorella (4:05)
10. Cantata nel giorno di Christiano: Recitativo. O quanto piacere a tutti (2:00)
11. Cantata nel giorno di Christiano: Aria. Già sento contento (4:00)
12. Cantata nel giorno di Christiano: Recitativo. Glorioso prence (1:29)
13. 31 Cantatas: No. 3, Già la stagio novella: Recitativo. Già la stagion novella (1:04)
14. 31 Cantatas: No. 3, Già la stagio novella: Aria. Scherza lʼaura e ride il prato (4:26)
15. 31 Cantatas: No. 3, Già la stagio novella: Recitativo. Così in dolce favella (1:07)
16. 31 Cantatas: No. 3, Già la stagio novella: Aria. Occhi cari (4:26)
17. 26 Cantatas: No. 22, Dori, vezzosa Dori: Recitativo. Dori, vezzosa Dori (1:16)
18. 26 Cantatas: No. 22, Dori, vezzosa Dori: Aria. Dolce sonno del mio ben (3:22)
19. 26 Cantatas: No. 22, Dori, vezzosa Dori: Recitativo. Goder placido (1:15)
20. 26 Cantatas: No. 22, Dori, vezzosa Dori: Aria. Viver non so contento (5:23)
21. 26 Cantatas: No. 22, Dori, vezzosa Dori: Recitativo. O, se un tuo bel sospiro (1:15)
22. 26 Cantatas: No. 22, Dori, vezzosa Dori: Aria. Sento che dice amor (3:35)
23. 26 Cantatas: No. 7, Lieve turba canora: Recitativo. Lieve turba canora (0:42)
24. 26 Cantatas: No. 7, Lieve turba canora: Aria. Chi chiedesse all'augelletto (3:50)
25. 26 Cantatas: No. 7, Lieve turba canora: Recitativo. Spinto da un bel desio (0:42)
26. 26 Cantatas: No. 7, Lieve turba canora: Aria. Non perché veda di strano aspetto (3:18)
At around the same time as George Frideric Handel, Johann David Heinichen, a pupil at St Thomas’s School in Leipzig, set off on a grand tour to Italy in 1710. The trained lawyer could no longer resist his urge for music and was promptly and richly rewarded for his grand tour. He was swept along by the musical trends of the day.
The music of Antonio Vivaldi, Alessandro Scarlatti and Francesco Gasparini had an immediate effect on him, whilst the masters of the time, such as Monteverdi and Carissimi, exerted a more indirect influence – and when he returned home in 1716, he was no longer the same man. He soon became Kapellmeister at the Dresden court, to which he made significant contributions until later in life (1729). Among other things, Heinichen left behind some fifty solo cantatas. Five of these enchanting, Italian-inspired opera scenes in pocket-sized form make up the programme of this production, whose soloist has mastered emotions in all of their facets and transformed them into sound.
The music of Antonio Vivaldi, Alessandro Scarlatti and Francesco Gasparini had an immediate effect on him, whilst the masters of the time, such as Monteverdi and Carissimi, exerted a more indirect influence – and when he returned home in 1716, he was no longer the same man. He soon became Kapellmeister at the Dresden court, to which he made significant contributions until later in life (1729). Among other things, Heinichen left behind some fifty solo cantatas. Five of these enchanting, Italian-inspired opera scenes in pocket-sized form make up the programme of this production, whose soloist has mastered emotions in all of their facets and transformed them into sound.
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