B.Strozzi, Cavalli, Cesti, Marini, Merula - Voglio cantar 2019

Voglio cantar. Barbara Strozzi, Cavalli, Cesti, Marini, Merula

Жанр: Classical vocal
Страна-производитель диска: Made in the EU
Год издания диска: 2019
Издатель (лейбл): Erato / Warner Classics
Номер по каталогу: 0190295632212
Дата записи: 2018
Аудиокодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 80:00 / 01:20:00
Источник: релизер
-источник/ник/другое: makdelart, подарок; Caterina Sforza: тяжелейшая работа с cue, доп. сканы
: да, полный авторский буклет jpeg, 47 страниц + web pdf буклет
Треклист:
Barbara Strozzi (1619 - 1677)

01. Arie, Op. 8 No. 6: 'Che si può fare'

02. Diporti di Euterpe, Op. 7 No. 10: 'Mi fa rider la speranza'

03. Diporti di Euterpe, Op. 7 No. 4: Lamento (Lagrime mie)
Biagio Marini (1594 - 1663)

04. Affetti musicali, Op. 1 No. 1: Sinfonia grave La Zorzi
Pietro Antonio Cesti (1623 - 1669)

05. 'Speranza ingannatrice'
Tarquinio Merula (1595 - 1665)

06. Canzoni overo sonate concertate per chiesa e camera, Book 3, Op. 12: XIX. Ballo detto Eccardo
Barbara Strozzi

07. Cantate, Ariette e Duetti, Op. 2 No. 17: Il Lamento (Sul Rodano severo)
Francesco Cavalli (1602 - 1676)

08. Statira, principessa di Persia: Sinfonia

09. Statira, principessa di Persia, Act 1: 'Alba, ch'imperli i fiori ... Amor, che mascherasti' (Ermosilla)

10. Musiche Sacre: No. 23, Canzon a 3

11. Statira, principessa di Persia, Act 2: 'Cresce il foco, avvampa il core' (Floralba)

12. Statira, principessa di Persia, Act 2: 'Vanne intrepido' (Statira)
Barbara Strozzi

13. Ariette a voce sola, Op. 6: XVI. Amante loquace (Chi brama in amore)
Biagio Marini

14. Sonata sopra 'Fuggi dolente core', Op. 22 No. 21
Barbara Strozzi

15. Arie, Op. 8 No. 4: L'Astratto (Voglio, sì vo' cantar)

16. Arie, Op. 8 No. 4: L'Astratto (Misero, i guai m'han da me stesso astratto)

Исполнители

Barbara Strozzi (1619-1677)
Biagio Marini (1594-1663)
Pietro Antonio Cesti (1623-1669)
Tarquinio Merula (1595-1665)
Francesco Cavalli (1602-1676)
Voglio cantar. Barbara Strozzi, Cavalli, Cesti, Marini, MerulaEmőke Baráth (soprano)
Il Pomo d’Oro, Francesco Corti (harpsichord & direction)
[u]Il Pomo d’Oro[/u]
Francesco Corti (harpsichord & direction)
Recording: Villa San Fermo, Lonigo, 17-20 June 2018
Audio CD (18 Jan. 2019)

Review

AllMusic Review by James Manheim [-]
This is the debut album on the Erato label by Hungarian soprano Emöke Baráth, and as such it's notable for its ambition. Baráth avoids well-worn repertory and actually takes on a task that has attracted few singers in the past: an exploration, in depth and in context, of music by Barbara Strozzi (1619-1677). Strozzi, the illegitimate daughter of an Italian poet, was one of the first female composers in the Western tradition, but she's better known in collegiate history texts than on recordings, where she tends to appear, if at all, on collections of music by women. Baráth attempts something else: an examination of Strozzi in her Italian context, joined with music by her teacher, Francesco Cavalli, and other composers of the day. The results are illuminating: Strozzi, who wrote a great deal of music, emerges as her teacher's equal. The album may be of use to instructors who want to ask their students to guess which pieces are by the female composer; they won't be able to do it. But Strozzi is different from Cavalli: she wrote not operas but subtle secular cantatas with a romantic or erotic edge, and this album brings home the distinctiveness of her music. Sample the Lamento 'Lagrime Mie': Cavalli may have made broader harmonic gestures, but not subtler ones. Another plus is the crisp work of the historical performance group Il Pomo d'Oro under leader Francesco Corti, especially in the instrumental works that serve as interludes here. The news is not as good with Baráth's voice, which tends to hang out on the lower side of the pitch, but your mileage (or kilometers) may vary. The sound, from the Villa San Fermo, is on the chilly side although the microphone is right in Baráth's face; a more intimate acoustic was needed. Nevertheless, for the important figure of Strozzi, Baráth probably rules the roost at this point.