Combine the artistry and brilliant virtuosity of countertenor Drew Minter and ARTEK/458 Strings with a program of vocal and instrumental jewels from 17th century Italy, and you have a recipe for a dynamic recording, bursting with musical fireworks, overflowing with emotion, and splashed with a multitude of colors.

A tinge of nationalistic pride gleams through the notes and the selections of music on "Christinas Resa". Soprano Susanne Rydén is Swedish, as are most members of the Stockholm Baroque Ensemble which accompanies her vivaciously on these arias from baroque operas and cantatas. It's the superb singing of Susanne Rydén that makes this CD extremely attractive. Rydén has both the rich timbres of an operatic diva and the supple control of an Historically Informed performer specializing in the baroque.

Voglio cantar – ‘I want to sing’ – is Emőke Baráth’s first solo album for Erato. The young Hungarian soprano has built a special reputation in Baroque music and the prime focus here is on Barbara Strozzi, who made her name as a composer in 17th century Venice. “She must have been quite a revolutionary personality,” says Emőke Baráth. “Her music is improvisational, intuitive, even rhapsodic … She was clearly a passionate woman with a strong dramatic sense.” Baráth is joined by Il Pomo d’Oro, conducted by Francesco Corti.

The 17th-century Italian art song repertory traditionally reserved for novice singers is given new life via Bartoli's artistry. With impeccable diction and evocative phrasing, she captures every innuendo of these simple, but passionate, pieces. No two repetitive phrases are alike; she chisels every line into a landscape of interpretive magnificence. Scarlatti's simple "O Cessate di Piagarmi" becomes a testament of innocent pain and plaintiveness. Giordano's "Caro Mio Ben" is transformed into a tender cry for love. All embellishments are imaginative and well executed. Accompaniment by György Fischer is equally appealing, sensitive and precise. Every singer questing for the art of singing should study these.

It's a truism by now that countertenors have made a notable comeback in our time, but David Daniels isn't about to rest on his laurels. As if his recent successes weren't enough to set him apart, on this recital album Daniels forays beyond the countertenor's stereotypical domain of the baroque to interpret lieder of Beethoven and Schubert, as well as French mélodies and Vaughan Williams. A stunningly beautiful disc.

With Night Passages Martin Fröst fuses a centuries-spanning selection of music, from the famous to the rare, into highly original arrangements for clarinet, bass and piano. With his unusual ensemble he touches the genre of jazz, folk and turns traditional Baroque favorites by Bach, Scarlatti, Handel and Rameau into original arrangements. He also sends greetings from his home country, Sweden, with music by Romantic composer Hugo Alfvén and the traditional Polska from Dorotea. Martin Fröst is widely recognized as an artist who constantly seeks new ways to shape, challenge and rebuild the classical music arena and, together with Miles Davis, the only wind soloist to have received one of the world's highest music honors; the Léonie Sonning Music Prize.

Following the success of her 2011 album, Diva Divo, mezzo-soprano Joyce DiDonato presents an exciting collection of virtuosic arias in her 2012 release on Virgin, Drama Queens. Drawing on royal roles in Baroque operas by Handel, Monteverdi, and Haydn, as well as selections from such minor composers as Orlandini, Porta, Keiser, Hasse, Cesti, and Giacomelli, DiDonato demonstrates both her impressive vocal abilities and a wide range of characterizations. Supported by the period ensemble Il Complesso Barocco, conducted by Alan Curtis, DiDonato sings with dynamic power and exquisite embellishments, executing runs and ornaments with sparkling brilliance and projecting her voice with ease. But even more important than her technical prowess is her charismatic presentation of these 17th and 18th century opera heroines, whose passionate emotions and exaggerated behavior are wonderfully realized in DiDonato's dramatic interpretations.

The Italian opera of the 17th century is a part of music history which is still hardly explored. Of course, Claudio Monteverdi's operas are regularly performed and recorded, and some of the stage works by his pupil Francesco Cavalli, the main composer of operas in Venice after Monteverdi's death has been given attention to, but many other works written in Italy in the 17th century are still to be rediscovered. One of the composers of that time whose works are hardly explored is Pietro Antonio Cesti. From the tracklist one may conclude that he was a prolific composer of operas. René Jacobs has been an avid advocate of Cesti's oeuvre, and in 1982 he made a recording of L'Orontea, arias from which he also performed at the concert in 1980 recorded and only recently released by ORF. He also gave performances of L'Argia, but so far that hasn't been recorded on disc.

Niniejsza płyta zwraca na siebie uwagę z kilku powodów. Pierwszym jest dobór repertuaru. Kantaty Antonio Cestiego zostały zarejestrowane po raz pierwszy w historii fonografii, co budzi uznanie. Wydawać by się mogło, że najlepiej muzykę dawną wykonują soliści i zespoły zagraniczne. Tymczasem, także u nas w kraju mamy wybitnych specjalistów od tego rodzaju muzyki, a dowodem na ich znakomitą znajomość tematu jest właśnie niniejsza płyta – i to jest drugi powód do zainteresowania się tym nagraniem. Jest jeszcze trzeci, ciekawostka: obie partie wokalne, sopranową i tenorową wykonuje jeden artysta, Jacek Laszczkowski, który w niniejszym nagraniu wystąpił także w duecie z samym sobą. Godna podkreślenia jest łatwość, z jaką przerzuca się on ze swojego podstawowego, tenorowego głosu na śpiew falsetowy, sopranowy.

With the 10 arias on Tormento d'amore, Ian Bostridge demonstrates the important place that the tenor voice held in Italian opera from the mid-17th to the mid-18th century - often thought of as the era of the castrato. At this time, there were two main centres of opera in Italy: Venice, where such composers as Cavalli, Vivaldi, Cesti, Stradella, Sartorio and Legrenzi were active, and Naples, home to Provenzale, Caresana, Vinci and Fago. In addition to arias - two of them in world premiere recordings - the album offers five instrumental sinfonie and a traditional Neapolitan song, 'Lu cardillo', or 'The Goldfinch', a songbird closely associated with Naples. Bostridge is partnered by conductor Antonio Florio and his ensemble Cappella Neapolitana.

Pietro Antonio Cesti, byname Marc’ Antonio, (1623-1669) composer who, with Francesco Cavalli, was one of the leading Italian composers of the 17th century. Cesti studied in Rome and then moved to Venice, where his first known opera, Orontea, was produced in 1649. In 1652 he became chapelmaster to Archduke Ferdinand of Austria at Innsbruck, a post he combined for a time with membership in the papal choir. From 1666 to 1669 he was vice chapelmaster to the imperial court in Vienna.

The lament became a current and important feature of Italian Baroque monody, with its rhetorical and therefore dramatic connotations, generally set over a four-note descending bass line. The best known, though not the earliest, of these laments is probably Monteverdi's Lamento d'Arianna, a later version of which, with a sacred Latin text, was included in the composer's Selva morale e spirituale, published in Venice in 1641. In 1607 Monteverdi had provided the music for a favola in musica performed at the court of Duke Vincenzo Gonzaga in Mantua, where the composer was maestro di cappella. Orfeo, with a libretto by Alessandro striggio, has a literary source in the Metamorphoses of Ovid. The success of Orfeo led to the creation of a new dramatic work, a tragedy in musica, in 1608, a deliberate attempt, as the pastoral Orfeo was not, to create a work that would in some way revive ancient Greek tragedy.

Antonio Cesti's Le disgrazie d'Amour is a comic opera from 1667 that played very well in its day, though not as well as his slightly later Il pomo d'oro, which proved the defining smash of Cesti's short career. Time enough has passed to expunge the repertoire of anything that may have served as a hit to Cesti in the past, and sometimes performing groups have an excellent grasp of what opera from a composer to revive based on the quality of a work itself, rather than its perceived popularity at a given time. Carlo Ipata and Auser Musici's Cesti: Le disgrazie d'Amour on Hyperion is an excellent example of that.

In 2019 the music world commemorated the 350th anniversary of the death of MarcAntonio Cesti, the greatest composer of opera comedies and the most gifted melodist of the seventeenth century. Since Cesti lived and worked in Innsbruck for many years, La Dori, his brilliant comedy of disguises and hidden identities, was the perfect choice for posthumous honors »on location.« Ottavio Dantone, who is active from the Milan Scala to the Salzburg Festival with his specialists support in the field of Baroque and Classical opera, conducted his exquisite original sound ensemble, the Accademia Bizantina on the Innsbruck opera stage and set in motion the Dori renaissance. This comedy of loves errors set by the banks of the Euphrates and at the court of Babylon is now available for audio enjoyment on cpo.