J. C. Bach: La Dolce Fiamma – Forgotten castrato arias – Philippe Jaroussky

Contents

1. La Clemenza di Scipione: Pugna il guerriero
2. Artaserse – Cavatina: Perché tarda è mai la morte
3. Sentimi, non partir…Al mio bene – Recitativo: Sentimi, non partir
4. Sentimi, non partir…Al mio bene – Rondo: Al mio bene
5. Orfeo ed Euridice: La legge accetto, o Dei
6. Adriano in Siria: Cara, la dolce fiamma
7. Adriano in Siria: Tutti nemici, e rei
8. Carattaco: Perfida Cartismandua!
9. Carattaco: Fra l’orrore di tanto spavento
10. Artaserse: No, che non ha la sorte
11. Artaserse: Vo solcando un mar crudele
12. Ebben si vada…lo ti lascio: Ebben si vada
13. Ebben si vada….lo ti lascio – Rondo: lo ti lascio
14. Temistocle: Ch’io parta

When you hear the name “Bach,” you think of Johann Sebastian. This was not always the case: After the death of the Thomaskantor, his highly talented sons took over. Especially the youngest filius Johann Christian (1735-1782) made a career in Italy, Germany and London. The countertenor PHILIPPE JAROUSSKY has already shown immense joy in discovering almost forgotten repertoire with the arias for the castrato Carestini. Now, together with the ensemble Le Cercle de l’Har-monie under Jérémie Rhorer, he dedicates himself to Johann Christian Bach’s completely unjustly neglected operatic output.

“La Dolce Fiamma” – “Sweet Flame” is the title of this recital, with which Johann Christian Bach could probably become a true star composer for the first time in recording history. He possessed this status throughout his life: even the young Mozart traveled to the Thames to learn from this “London Bach,” who had taken over the role of star composer in England after Handel’s death. The works, after the fashion of the time, put mythological figures at the center of the plot, but musically the young Bach opened entirely new chapters of vocal and orchestral treatment. Listening to his arias, one might think one was dealing with forgotten Mozart works – with all the technical and dramatic demands. “I love the role of a performer who gives forgotten works the attention they deserve,” JAROUSSKY says of the new project. “It’s really about time for Johann Christian Bach!”

Reviews

klassik. com 01/10: “Ideally, when listening to a CD, one is spellbound from the first minute and forgets the time. When it is over at some point, one feels regret and perhaps starts all over again because it was so beautiful. With Philippe Jaroussky’s new album, it can’t be any other way. Rarely has such a happy combination of perfect vocal artistry, masterful composition, a consistently inspired orchestra and outstanding sound engineering been assembled. “