Tommaso Traetta News
Italian composer
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2024-04-24
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2023-08-20 04:00:00
Italian Arias of the 18th Century (Mónika González, Fabio Pirona, Savaria Baroque Orchestra)
Italian Arias by: Niccolò Jommelli, Tommaso Traetta, Leonardo Leo, Giovanni Battista Pergolesi, Giovanni Paisiello, Niccolò Piccinni, Antonio Sacchini & Baldasare GaluppiMónika González, SopranoFabio Pirona, Savaria Baroque Orchestra(Period Instruments)Hungaroton HCD 32253-2(See back cover for complete track listing) [Flac & Scans]
2022-10-22 04:00:00
Traetta: Antigone (Christophe Rousset, Les Talens Lyriques)
Tommaso Traetta (1727-1779)Antigone - Tragedy in Music in Three Act (1772)Christophe Rousset, Les Talens Lyriques(Period Instruments)Decca L'Oiseau Lyre 460 204-2 (2000) 2-Disc set[Flac & Scans]
2022-01-28 12:21:09
1772: A Retrospective - The Mozartist in Mozart, Haydn and more exploring the musical world of the 16-year-old composer
1772: A Retrospective - Mozart, Jommelli, Traetta, JC Bach, Gassmann, Haydn; Ian Page, The Mozartists, Chiara Skerath, Jessica Cale; Cadogan Hall Reviewed by Robert Hugill on 27 January 2022 Star rating: 4.0 (★★★★) Reform is in the air: Mozart alongside music by his contemporaries from the year he turned 16It is 1772 and Mozart has just turned 16. He has an official position at the Archbishop's court in Salzburg, and a new boss, the far less relaxed Archbishop Colloredo. In Naples, Niccolo Jommelli completes his penultimate opera, Cercere placata despite having suffered a stroke, whilst in St Petersburg, Tommaso Traetta debuts his final masterpiece, Antigona. Reform is in the air. Welcome to the musical world of Ian Page and The Mozartists' 1772: A Retrospective at Cadogan Hall, with music by Mozart, Jommelli, Traetta, JC Bach, Gassmann and Haydn, with sopranos Jessica Cale and Chiara Skerath. We began with Mozart's […]
2021-09-26 14:36:00
[…] one could have tired, in the way some people unaccountably seem to do so, of Classical drama lyricised and rendered visible. Rarely if ever did a small instrumental ensemble have one wishing for larger forces, the St John’s acoustic weaving its magic. Gluck and Calazbigi will surely have won more converts, and willingness to explore dance as musical drama augurs well for further Bampton explorations. Dare we hope, perhaps, for a little Rameau or even Traetta? To be fair, more Gluck would also be highly welcome. We shall see—and hear; at least I hope we shall.
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