Philippe Jaroussky - Caldara in Vienna (Forgotten Castrato Arias) [2010, Virgin Classics # 50999 641927 2 7] {Repost, Upgrade}

×

Philippe Jaroussky - Caldara in Vienna (Forgotten Castrato Arias) [2010, Virgin Classics # 50999 641927 2 7] {Repost, Upgrade}

Close

Philippe Jaroussky - Caldara in Vienna (Forgotten Castrato Arias)
Concerto Köln / Emmanuelle Haim - Philippe Jaroussky
EAC+LOG+CUE | FLAC: 330 MB | Full Artwork: 519 MB | 5% Recovery Info
Label/Cat#: Virgin Classics # 50999 641927 2 7 | Country/Year: Europe 2010
Genre: Classical | Style: Baroque, Vocal, Castrato

MD5 [X] CUE [X] LOG [X] INFO TEXT [X] ARTWORK [X]

my rip [X] not my rip [ ]

×

Philippe Jaroussky - Caldara in Vienna (Forgotten Castrato Arias) [2010, Virgin Classics # 50999 641927 2 7] {Repost, Upgrade}

Close

Review by Stephen Eddins

Countertenor Philippe Jaroussky continues to amaze with the facility of his technique in the most demanding coloratura repertoire, the intelligence and deep feeling of his musicianship, and, most especially, with the full, vibrant quality of his distinctive voice. It has lost none of its freshness since he burst onto the international scene in the last years of the 20th century, and has become a richer, stronger instrument without giving up any of its remarkable agility. A champion of neglected Baroque composers, he turns his attention to Antonio Caldara (ca. 1671-1736), a near-contemporary of Vivaldi's. Like Vivaldi, he began his career in Venice and ended it in Vienna, and Vivaldi is the composer whose music Caldara's most resembles. As renowned as Vivaldi in his lifetime and even more prolific, he fell into obscurity soon after his death and remained essentially a historical footnote until the late 20th century. Even so, there has never been a Caldara renaissance, and based on the selections recorded here, one is unlikely to be coming. The music is created with consummate skill, the text setting is idiomatic, and these opera arias demonstrate dramatic flair and have considerable charm; they could reasonably be mistaken for the work of Vivaldi on a fair-to-middling, or even good, but not a great day. These selections, presumably the most interesting that Jaroussky culled from his research, are all very fine in their own right but lack the dazzle that, in the best Vivaldi, makes the listener sit up and gasp at its unpredictable inventiveness or wit or profound emotional integrity or ravishingly limpid lyricism. It would be hard to imagine a more compelling case for this material than that made by Jaroussky and Emmanuelle Haïm, who plays harpsichord and conducts Concerto Köln. They invest this music with such life and devote such exquisite attention to its nuances that the album fully deserves the attention of fans of the Baroque or Vivaldi, or of anyone who simply cherishes hearing terrifically talented and spirited performers giving their all to music they clearly love. The album is beautifully produced and has clean, vibrant, and natural sound, with excellent balance. ~allmusicguide

×

Philippe Jaroussky - Caldara in Vienna (Forgotten Castrato Arias) [2010, Virgin Classics # 50999 641927 2 7] {Repost, Upgrade}

Close

With this new album, Philippe Jaroussky revives a number of forgotten works by a contemporary of Johann Sebastian Bach, Handel and Vivaldi – the Venetian-born Antonio Caldara, who made his career in Mantua, Barcelona, Rome and, finally, Vienna. All the arias – several recorded for the very first time – come from operas with librettos by Metastasio (1698 –1782), whose noble texts defined the genre of opera seria. Both Mozart’s La clemenza di Tito, first performed in 1791, and Caldara’s opera of the same name, first performed nearly 60 years previously, were settings of Metastasio, while the writer’s text for Caldara’s Demofoonte, first performed in 1733, went on to inspire more than 70 stage works, including operas by Gluck, Paisiello, Piccinni, Graun and Cherubini.

As usual, Jaroussky has done his own musicological research for this album. "I’m always very curious and love to go to libraries. When you are in direct contact with manuscripts, it’s like you are touching history; it’s important for me to do the research myself, to be in direct contact with the material."

La dolce fiamma, also both a musicological and vocal tour de force, prompted The Guardian to affirm that: "You can't help but be seduced by the passion and range of Jaroussky's singing, which embraces everything from perfect coloratura to rapt introversion", while in the countertenor’s native France – where in 2010 he won his third award in the high-profile annual Victoires de la Musique – Diapason asked: “Can Philippe Jaroussky’s talent be praised any further? … His indomitable technique enables him to tackle the wildest vocalises, but also, thanks to his cultivated legato, to caress sinuous melodic curves. His even, wide-ranging voice charms from the first moment. There’s a touch of mystery, great gentleness, subtlety and sweetness – and the magic of singing does the rest."

This is Jaroussky’s eighth solo album for Virgin Classics and his second recital to be conducted by Emmanuelle Haïm. Their previous collaboration was on Carestini: The story of a castrato, released in late 2007, which, according to Gramophone found Jaroussky “in brilliant, ravishing voice," while BBC Music Magazine judged that: "This programme of operatic arias provides [Jaroussky] with a spacious shop-window to display both his pyrotechnical skill … and his ability to express tender, reflective emotions: the ravishing ‘Scherza, infida’ from Ariodante, is handled with yearning sensibility by singer and instrumentalists alike … In summary a rewarding recital, stylishly directed by Emmanuelle Haïm."

×

Philippe Jaroussky - Caldara in Vienna (Forgotten Castrato Arias) [2010, Virgin Classics # 50999 641927 2 7] {Repost, Upgrade}

Close

all of my uploads in my blog