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2020-09-17 06:39:50
Intimate and forward-looking: Niccolò Jommelli's Requiem from Italian forces
[…] used are probably somewhat larger than those at the first performance, and if you are interested in that degree of authenticity then Il Gardellino and Peter van Heygen have a recording released this year on the Passacaille label which uses far just four singers and no star soloists. The performers, the Coro e Orchestra Ghislieri, are based at the Centro di Musica Antica at Ghisleri College, the second oldest college in Pavia, Italy and founded in 1567 by Pope Pius V (Antonio Ghisleri). Directed by Giulio Prandi, the Coro e Orchestra Ghislieri was founded in 2003 and explores forgotten works of 18th century repertoire, link to new scholarship. This performance benefits from a new edition, based on the surviving manuscript in Naples (where Jommelli retired to after leaving the duke's service) written by a friend of the composer. The CD booklet has a photograph […]
2019-11-28 07:34:07
Music for Milan Cathedral
Werrecore, Josquin, Gaffurius, Weerbeke; Siglo de Oro, Patrick Allies; Delphian Reviewed by Robert Hugill on 27 November 2019 Star rating: 4.0 (★★★★) Maestro di cappella in Milan for nearly 30 years, yet a 16th century composer we have never heard of, until now. This disc is devoted to motets by a composer that you may in all probability have never heard of, despite his being at the centre of Italian liturgical musical life for nearly years. Hermann Matthias Werrecore was appointed to the post of maestro di cappella of Milan Cathedral in 1522 and remained in place for nearly 30 years, during a turbulent time which included the Italian War of 1521-26 between Francis I of France and the Holy Roman Emperor, Charles V, notably the Battle of Pavia when Francis was captured. A battle which Werrecore claims to have witnessed.On Siglo de Oro's disc, Music for Milan Cathedral, […]
2018-10-20 23:00:00
Verdi - Aroldo - Caballé
[…] saw productions in Venice at La Fenice, Cremona, Parma (which chose it over the original Simon Boccanegra),[9] Florence, and Rome. In 1859, it was given in Malta and then, in the following two years, Aroldo appeared on stages in Genoa, Trieste, Lisbon, and Palermo at the Teatro Massimo Bellini. In the Spring of 1864 it was seen in Turin again and then, in the years up to 1870, performances were recorded as having occurred in Pavia, Como, Modena, and, once again, in Venice. Its success varied considerably, especially in Milan in 1859, where "it was a fiasco. It was the public, not the censors, who found it unacceptable".Today, Aroldo is one of Verdi's very rarely performed operas, "especially since the rediscovery in 1968 of its parent work Stiffelio ". A major revival occurred at the Wexford Festival in 1959 and it was not performed in the US until 4 May […]
2016-08-04 19:45:38
Espada/Redmond/Fumagalli/Ghislieri Choir and Consort/Prandi (Deutsche Harmonia Mundi)At the end of 1706, the 21-year-old Handel arrived in Rome from Germany and immediately started making a stir in the wider musical world. The three vocal and choral works chosen by Giulio Prandi and his Pavia-based Ghislieri Consort, all recorded live in concert, date from the ensuing 12 months. Dixit Dominus sounds spirited and shapely, if not ideally pointed; the higher choral voices especially seem far back in the mix. British soprano Rachel Redmond impresses among a mixed bag of soloists. Handel geeks will be more excited by the two relatively unfamiliar cantatas. Ah Che Troppo Ineguali comprises a recitative and long aria, sung with poise by the soprano Maria Espada. Donna, Che in Ciel is more substantial, and we can hear Handel’s confidence and originality in arias such as Sorge Pure dall’Orrido Averno, which has unison strings overlapping with and anticipating the […]
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