The Fondazione Pergolesi Spontini, which has been devoting itself to the research and performance of Pergolesi‘s music for years now, had his operas recorded live at the annual Music Festival in Jesi. Released on this BD are two productions from Jesi of one almost forgotten opera, Il prigionier superbo, and one of Pergolesi’s most popular works, La serva padrona, combined like they were at the original premiere.
Pergolesi’s first opera “La Salustia” is filled with emotions and dramatic elements. It portrays the battle of two women, their struggle for power and justice. Further, it is the story of failing deceitful plots and mistrust. Young French director Juliette Deschamps, known for various opera productions in Jesi, made the old story come alive on a stage that suggests an ancient palace with large windows, later on the coliseum. The cast features well-loved Pergolesi interpreters such as Serena Malfi, Laura Polverelli or Vittorio Prato. The Accademia Barocca de I Musici Italiani, well-known for productions in historic performance practice, are led by Corrado Rovaris.
Il Prigionier Superbo is a three-act opera seria with six characters — two kings, two princes, two princesses. La Serva Padrona is a two-part comic intermezzo with two singing characters — master and servant. It was performed between Prigionier's acts when they bowed in 1733, as Naples theaters reopened after earthquake-forced closure. Prigionier vanished from the stage, but Serva Padrona grew popular, helped establish opera buffaand helped start a pamphlet war between Italian and French opera supporters in Paris… MARK MANDEL
New love, position, power, revenge, disguise, mistaken identity, complications and passionate devotion – the full spectrum of baroque opera seria is here in this new recording of Pergolesi’s ‘Adriano In Siria’. Franco Fagioli leads the cast, alongside Romina Basso, Yuriy Mynenko, Dilyara Idrisova, Juan Sancho and Cigdem Soyarslan, accompanied by the exuberant Polish orchestra Capella Cracoviensis under the baton of Jan Tomasz Adamus. Famed for his Stabat Mater, Pergolesi died aged just 26 but had already completed four opera seria; ‘Adriano in Siria’ is the third of these and has a libretto by Metastasio.
This release is dedicated to some of the most famous settings of the Stabat mater, revealing the genre's varying treatment by composers over the centuries. From Palestrina's effective use of polyphony to Pergolesi's unusually sparse instrumental accompaniment, we move forward in time to contributions by Vivaldi and Haydn. These compositions rank among some of the most famous and affective music ever composed.
When these recordings first came out, far in advance of the period instrument revolution, they were revelations. Though modern instruments were used, there was an effort to get performance practices right… And there was the incredibly powerful, absolutely heavenly sound of that chorus of men and boys, as well as the lifelike recordings that perfectly captured the vast space of the Chapel of King's College. Since that time there have been other performances that depict the letter of each work to a greater degree than these, but many listeners will argue that there are none that have better encapsulated the spirit of this music… These are star-studded "great singing" recordings in which the artists will be remembered as much as the music itself.
New love, position, power, revenge, disguise, mistaken identity, complications and passionate devotion the full spectrum of baroque opera seria is here in this brilliant, vivid setting of a powerful and moving story.
Pergolesi - a musical genius cut off in his prime. Famed for his Stabat Mater, even though he died aged just 26 he had already completed four opera seria; Adriano in Siria is the third of these. Composing for only around a decade before he succumbed to tuberculosis aged 26, Giovanni Battista Pergolesi was so well known for his music that the instant that his death was known, all Italy manifested an eager desire to hear and possess his productions …
A classic work of its genre and historical period, Artaserse was premièred in Venice in 1730 by the most famous singers of the day: Farinelli in the role of Arbace, Cuzzoni as Mandane and the castrato Nicolino as Artabano. Following its initial success, Hasse produced two different versions of the work, the first in 1740 and the second in 1760. This world première recording is based on the original Venice version. The exceptional cast features countertenor Franco Fagioli in the role originally taken by Farinelli, his stunning technique making light of the 3-octave range with uniform timbre, remarkable power and striking resonance. Equally memorable is the aria “Pallido sole” sung by Sonia Prina.