Cecilia Bartoli – St Petersburg

15,70

1 CD 

Κλασική Μουσική 

Decca

19 Ιανουαρίου 2022

Εξαντλημένο

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Περιγραφή

028947876953

Καλλιτέχνες

Cecilia Bartoli (Mezzo-Soprano)
I Barocchisti (Early Music Ensemble)
Diego Fasolis (Μαέστρος)

Contents:

La forza dell’amore e dell’odio – “Vado a morir” (La forza dell’amore e dell’odio)

Altsesta – “Razverzi pyos gortani, laya” (Altsesta) & “Idu na smert” (Altsesta)

Siroe, re di Persia – “O placido il mare” (Siroe, re di Persia)

Prologue To “La Clemenza di Tito” – “De miei Figli” (Prologue To “La Clemenza di Tito”)

Carlo Magno – “Fra’ lacci tu mi credi” (Carlo Magno)

Seleuco – “Pastor che a notte ombrosa” (Seleuco)

Altsesta – March (Altsesta)

Carlo Magno – “Non turbar que’ vagi rai” (Carlo Magno)

La vergine del sole – “Agitata in tante pene” (La vergine del sole)

Carlo Magno – “A noi vivi donna eccelsa” (Carlo Magno)

There are also musical treasures to be unearthed in St. Petersburg. This called the treasure digger Cecilia Bartoli to the scene. With the same irrepressible energy with which she stands on stage and records albums of musical historical value in series, she repeatedly sets out on a search in the libraries and archives of the world. Now she has found what she is looking for in the archives of the Mariinsky Theater.

On the new CD “St Petersburg” Cecilia Bartoli sings opera arias from works performed at the Russian court of the Tsars in the 18th century. This means we will hear titles in Russian from her for the first time, but mostly Italian arias. Under the tsarinas Anna (1730-1740), Elizabeth (1741-1762) and Catherine II. (1762-1796) – Catherine the Great – not only Italian operas were an import hit. Tsarina Anna hired Francesco Araia, an Italian court chapel master, who set opera libretti in his native language in St. Petersburg. Thus, the art of opera also flourished in St. Petersburg in the 18th century. Heroic Italian operas with their spectacular productions were intended to reflect the splendor and glory of the tsar’s court and to give expression to the enlightened absolutism of the rulers on stage.

On “St Petersburg” Cecilia Bartoli interprets arias by Francesco Araia, Hermann Friedrich Raupach, Vincenzo Manfredini and Domenico Cimarosa. At only 26 years of age, the former child prodigy Araia was appointed ‘maestro di cappella’ at Anna’s court in 1735. in 1736 his opera ‘La forza dell’amore e dell’odio’ was staged in St. Petersburg. He also made musical history by composing the first opera with Russian lyrics, “Tsefal i Prokris” (Cephalus and Procris) in 1755. The libretto was by Alexander Petrovich Sumarokov, who directed the theater in St. Petersburg.

in 1758, Tsarina Elisabeth appointed Raupach as Araia’s successor. He had previously served as harpsichordist at the court in St. Petersburg. In the year of his appointment, his opera “Altsesta” was premiered there. Sumarokov also wrote the libretto for the Alceste opera.

Vincenzo Manfredini served as court conductor to Peter Fedorovich as early as 1758, and after his accession to the throne in 1762, he became conductor to the tsar’s court as Peter III. After Peter’s death in the same year, Catherine the Great confirmed him in this post. Manfredini wrote at least five operas during his time in Russia. The final highlight was “Carlo Magno” from 1763. In 1765 Manfredini was ousted from office by Galuppi. A similar fate befell Cimarosa, who served as court chapel master in St. Petersburg only in Catherine’s late reign, from 1787 to 1791. By that time, spending on court music had been so dramatically reduced that there were barely a handful of Italian opera singers on hand. As a result, Cimarosa composed only three operas that were premiered in St. Petersburg. That a gifted singer could lend brilliance to an opera even with a reduced ensemble is best demonstrated by Cecilia Bartoli with “Agitata in tante pene” from Cimarosa’s opera “La vergine del sole”.

“St Petersburg” will be released on October 10, 2014, and as always, Cecilia Bartoli documents and reconstructs the history of the works. With the dazzling musical epoch of Baroque opera in St. Petersburg, she opens up for herself and for us another important arena of European music history. The deluxe edition including a hardcover booklet with extensive documentation in text and pictures is a wonderful pastime for long autumn evenings.

For “St Petersburg” Cecilia Bartoli once again collaborated with the original sound ensemble I Barocchisti under the direction of Diego Fasolis. Already in ” The Steffani Project” (including “Mission”), the transparent, light sound of the orchestra was enchanting, allowing Cecilia Bartoli’s voice to come across so wonderfully.

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