This recording includes the composer’s later additions for a planned but never realised second production in 1773
BIS is proud to release a rarely (if ever) recorded fragment of Haydn’s opera Acide which was composed for the celebrations of the wedding of Count Anton Esterházy and Countess Maria Theresia Erdödy, and performed at the Esterházy residence at Eisenstadt on 11th January 1763. The Italian libretto, by G. A. Migliavacca, retells the well-known episode from Ovid’s Metamorphoses in which the nymph Galatea witnesses the death of her lover Acis (Acide) at the hands of the cyclops Polyphemus. Four arias and most of the recitatives from the original 1763 version of Acide have been lost, but complementing the remaining numbers are two arias and a recitative composed by Haydn for a planned second production in 1773.
BIS SACD BISSACD1812
Il volume presenta, attraverso un'analisi rigorosa e insieme ricca di contributi critici innovativi, un profilo completo e aggiornato dell'opera di Pasolini: un'opera che spazia dalla poesia alla narrativa, alla saggistica, al cinema, al teatro, alle traduzioni dei classici, al giornalismo, alla pittura. Il saggio si sviluppa attraverso una puntuale analisi dei testi e, per la produzione cinematografica, dei singoli film. …
The Concerto Grosso is a popular Baroque form, in which two instrumental groups complete against each other: a small group of soloists and the tutti of the orchestral group. It is the forerunner of the solo concerto form, which features only one solo instrument. This set present the complete Concerti Grossi by Pietro Antonio Locatelli, modelled on the popular concerti grossi of his teacher Corelli. The writing as might be expected from Locatelli the devil violinist, is highly virtuosic and brilliant, inventive in harmony and counterpoint, written to impress and entertain.
"Ascanio in Alba" K. 111 came about through the good offices of Count Firmian, who had shared the Milan audience's enthusiasm for "Mitridate" and exerted his influence on the Empress in Vienna. He suggested entrusting the young Mozart with the composition of a festa teatrale for the wedding of the Empress's son, Archduke Ferdinand, and Maria Beatrice d'Este of Modena. Mozart began working on the score in late August 1771…
Admirers of Gluck the reformer may be surprised by this thoroughly Baroque, extremely florid opera composed by him in 1765 (three years after Orfeo ed Euridice changed the landscape of opera forever). La corona , Gluck's setting of Metastasio's one-act azione teatrale (the master librettist's own term for a serenata with a plot), was commissioned by Queen Maria Theresa as a name-day gift for the emperor. Though is also styled an azione teatrale , the two operas could hardly be more different. Considering that La corona contains as treacherously difficult a collection of florid arias as can be found in any score of the period, it's hard to credit that it was created specifically to be sung by the three royal princesses; even the most adept prime donne of the period would have struggled to master its score. Due to the sudden death of the emperor, La corona was shelved and never performed in Gluck's lifetime. Atypically for a score of this quality and complexity, the composer mined relatively little of it for future works, with a notable exception in his transformation of the second part of the overture into the love duet in Paride ed Elena .