Italian composer Nicola Porpora is mainly a footnote in the history books these days, noted as Haydn's teacher, but in his day he was a rival to Handel and wrote a good deal of music for the celebrated castrato Carlo Broschi, aka, Farinelli. That music is sampled here by the startlingly soprano-like French countertenor Philippe Jaroussky, and listeners are likely to feel that it's been unjustly neglected. Jaroussky sounds great, his creamy voice sailing through the mostly tuneful pieces. There are also a few big showpieces of the sort that Renée Fleming and others have recorded on their Baroque aria albums. Jaroussky is not quite as powerful here, but there are some real finds in the music like the gripping soprano-and-trumpet cadenza in "Nell'attendere il mio bene," from Polifemo (track 8). All the way through the music is like that: it's recognizably part of the same world as Handel's arias, but it's full of original touches unrelated to Handel. Porpora's most famous piece, the atmospheric "Alto giove" (again from the opera Polifemo) is here, as are a couple of duets in which Jaroussky is joined by no less than Cecilia Bartoli. These fall easily into the classification of rare treat. Throw in sensitive accompaniment from the Venice Baroque Orchestra and conductor Andrea Marcon for an extremely worthwhile Baroque aria recital. (James Manheim)
A celebration of instrumental Baroque splendour! This set present an anthology of Italian Baroque composers, featuring their instrumental output. Obviously the famous composers have their fair share: Vivaldi, Albinoni, Locatelli, Corelli, but also lesser known composers are featured: Barsanti, Bassani, Veracini, Nardini, Stradella, Vitali, Mancini, Platti, Legrenze and many more, over 30 composers! Performances by leading ensembles specialized in the Historically Informed Performance Practice: L'Arte dell'Arco/Federico Guglielmo, Ensemble Cordia/Stefano Veggetti, Violini Capricciosi/Igor Ruhadze, MusicaAmphion/Pieter Jan Belder and many more. A treasure trove of solo concertos, concerti grossi, sinfonias, overtures, trio sonatas and solo sonatas from the Golden Era of the Italian Baroque, era of joy, passion and brilliance!
In collaboration with the Opéra de Nice and with the Ensemble Baroque de Nice, Dynamic releases a Vivaldian rarity, Rosmira Fedele, first staged at Venice’s Teatro Sant’Angelo on 27th January 1738. Written on a libretto by Silvio Stampiglia, Rosmira Fedele is the last opera by Vivaldi that has come down to us. Written three years before the composer’s death, this work heralds the end of one of the most fertile theatrical careers in the history of music.
On the model of Dorilla in Tempe (1734) and Bajazet (1735), and unlike the compilations of fashionable arias which were mechanically produced, then, by many composers, Rosmira is a pastiche - a wide-spread practice in that day, and one which was considered artistically valid, according to Vivaldi’s own words; many parts, however, were written ex novo, with the Venetian composer keeping for himself the best passages of the opera, from a musical and dramatic point of view.