Hermann Raupach News
German composer (1728-1778)
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2024-03-25
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2014-12-20 18:57:48
[…] art. We get to hear the following selections: Araia: Pastore che a notte ombrosa (from Seleuco) Vado a morir (from La forza del amore e dell’ odio) Cimarosa: Agitata in tante pene (from La vergine del sole) Manfredini, V: Fra lacci tu mi credi (from Carlo Magno) Non turbar que’ vaghi rai (from Carlo Magno) A noi vivi, donna eccelsa (from Carlo Magno) Raupach: Razverzi pyos gortani, laja (from Altsesta) Idu na smert (from Altsesta) O placido il mare (from Siroe re di Persia) Marcia (from Altsesta) Performed by Cecilia Bartoli, mezzo-soprano, with ‘I Barocchisti’ , Diego Fasolis conducting. Gramophone Magazine , November 2014, wrote the following: “Anyone expecting…a diet of thin, phoned-in Neapolitan fare will be in for a surprise. There is rich music here, and dramatic too…Bartoli, as […]
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Royal Opera House
2014-11-19 18:08:57
Recommended recordings: November 2014
[…] range is astonishing and each work plays to Bartoli’s strengths: if the voice is no longer as full as it was, it is still remarkable in its flexibility and range and fully equal to the technical demands of the style. Bartoli has never gives less than her all, and as ever her energy and commitment bursts from the speakers. If Cimarosa is the only familiar composer on the disc, the real discovery for me is Raupach , writing in Russian: full marks to Bartoli for delivering some fiercely challenging music in a language she has not sung previously. This is the best of her recent discs, I think, and a must-have. Buy St Petersburg from the ROH Shop The Royal Opera House Online Shop stocks a full range of classical recordings, as well as DVDs and merchandise.
2014-11-16 10:59:04
[…] of a solid technique, breathtaking coloratura and virtuosity. One of her performances is “Pastor che a notte ombrosa” of Francesco Domenico Araia, where the voice goes hand-in-hand with bird sounds, virtuously reproduced by the talented instrumentalists. It is worth noting other two pieces, a soft and shining musical dialogue between Bartoli and two instruments: the oboe and the clarinet. My favourite pieces are “Razverzi pyos gortani, laya” and “Idu na smert” from Altsesta, by Hermann Raupach. Cecilia Bartoli came on the stage with a white gown and a long train and left it in a white coat, toque and cuff, after offering five encores. The captivated public responded with generous applauses. The scene outfits were a smart choice to transpose the audience into those old times when the music was written. Cecilia Bartoli charmed the audience with her rich voice, its colour, stage presence, spontaneity, engaging openness and artistic honesty. […]
2014-11-10 14:30:18
Fox and friends
[…] move, let alone his broader strategic outlook. Yet one would not be faulted for failing to see the Russian soul in these primarily Italian works. There are contemplative arias and daring cabalettas, but the overall impression is that these are not pieces that stand boldly on their own; a singer of Bartoli’s charisma and flexibility elevates them to edge-of-your-seat vocalism. Dall’Oglio’s “De’ miei flgli” from La Clémence de Titus is surprisingly plaintive and slow while Raupach’s “Idu na smert” from Altsesta—written 80 years before the first Russian opera—offers an opportunity to hear Bartoli sing in Russian for the first time (do you remember your first time?) Bird-like noises permeated Araia’s “Pastor che a notte ombrosa” from Seleuco. In truth I forgot about much of the first half once Bartoli bulldozed her way through Raupach’s “O placido il mare” from Siroe, re di Persia. This was Cecilia Bartoli doing her thing, […]
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