Torelli - The Original Brandenburg Concertos: Concerti Musicali Op.6 ~ Torelli |
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Track Listings
| Disc: 1 | |||
|---|---|---|---|
| 1. Sinf - Les Talens Lyriques/Christophe Rousset | |||
| 2. Atto Primo. Danza E Chor: Giusti Numi, Ah Voi Rendete - Chor De Chm Accentus/Laurence Equilbey/Carlo Vincenzo Allemano/Gilles Ragon | |||
| 3. Atto Primo. Chor: O Trista, Infausta Scena - Chor De Chm Accentus/Laurence Equilbey | |||
| 4. Atto Primo. Recitativo: Popoli, Amici, A' Nostri Voti Il Cielo - Carlo Vincenzo Allemano/Gilles Ragon | |||
| 5. Atto Primo. Chor: Regna Lunghi Anni Felici - Chor De Chm Accentus/Laurence Equilbey | |||
| 6. Atto Primo. Recitativo: Cedo Al Pubblico Voto - Carlo Vincenzo Allemano | |||
| 7. Atto Primo. Chor: Cosi Finiscano, Cosi Periscano - Chor De Chm Accentus/Laurence Equilbey | |||
| 8. Atto Primo. Recitativo Accompagnato: Fermatevi, Crudeli - Maria Bayo/Anna Maria Panzarella/Carlo Vincenzo Allemano | |||
| 9. Atto Primo. Terzetto: Ah De' Tuoi Re, Tiranno, Almen Le Spoglie Onora - Maria Bayo/Anna Maria Panzarella/Carlo Vincenzo Allemano | |||
| 10. Atto Primo. Recitativo: Ah Di/Rimane Ancora All'ira Degli Dei - Maria Bayo/Anna Maria Panzarella | |||
See all 32 tracks on this disc
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| Disc: 2 | |||
| 1. Atto Secondo. Aria: Non Lusingarti Ingrato - Carlo Vincenzo Allemano | |||
| 2. Atto Secondo. Chor: Ah, Serba Il Figlio Amato - Chor De Chm Accentus/Laurence Equilbey/Carlo Vincenzo Allemano | |||
| 3. Atto Secondo. Recitativo: La Rea Son Io - Maria Bayo/Anna Maria Panzarella/Laura Polverelli/Carlo Vincenzo Allemano | |||
| 4. Atto Secondo. Aria E Duetto: Non E Il Rigor Tiranno - Carlo Vincenzo Allemano/Anna Maria Panzarella/Laura Polverelli | |||
| 5. Atto Secondo. Recitativo Accompagnato: All'ombre Amate Del Genitor - Maria Bayo/Anna Maria Panzarella/Laura Polverelli | |||
| 6. Atto Secondo. Aria: Finito E Il Mio Tormento - Maria Bayo | |||
| 7. Atto Secondo. Duetto: Quando Di Duol D'affanno - Anna Maria Panzarella/Laura Polverelli | |||
| 8. Atto Terzo. Chor: Piangi, O Tebe - Chor De Chm Accentus/Laurence Equilbey | |||
| 9. Atto Terzo. Chor: Ahi, Come Presto, O Misera - Chor De Chm Accentus/Laurence Equilbey | |||
| 10. Atto Terzo. Recitativo Accompagnato: O Tebe, O Cittadini - Maria Bayo | |||
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See all 34 tracks on this disc
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On this CD:
-
Antigona
Composed by Tommaso Traetta
Performed by Accentus Chamber Choir, Talens Lyriques
with María Bayo, Anna Maria Panzarella, Carlo Allemano, Laura Polverelli, Gilles Ragon
Conducted by Christophe Rousset
Product Description
BBC Music Magazine
Tommaso Traetta (1727-79) was particularly admired in his lifetime for his fusion of Italian opera seria with French tragedie lyrique. And his acknowledged masterpiece in this genre is Antigona (1772), to a libretto that tempers the implacable harshness of Sophocles with the humane spirit of the Enlightenment. From the opening scene, with its fluid intermingling of chorus, solo and ballet, Traetta repeatedly subverts the norms of opera seria. There are few extended arias, virtuosity is at a premium and solos are always likely to burgeon into duets or choruses, often with striking dramatic effect. Gluck and, more distantly, Rameau are obvious models, especially in the poignant extended scene for Antigone and her companions that opens Act II. Two salient features of the score are the rich scoring for woodwind (including clarinets) and the searching accompanied recitatives. Traetta can't quite match Gluck's stark classical simplicity, and his dramatic sense can falter, especially in the perfunctory denouement. But at its finest, Antigona is a noble and moving work that should come as a revelation to many lovers of 18th-century opera. Under Christophe Rousset, the performance - based on concerts at the Beaune Festival - exudes the excitement of first discovery, with vivid choral and orchestral contributions and intensely characterful solo singing, above all from Maria Bayo as a vulnerably youthful Antigone and Anna Maria Panzarella as her sweet-toned sister Ismene.
Tommaso Traetta (1727-79) was particularly admired in his lifetime for his fusion of Italian opera seria with French tragedie lyrique. And his acknowledged masterpiece in this genre is Antigona (1772), to a libretto that tempers the implacable harshness of Sophocles with the humane spirit of the Enlightenment. From the opening scene, with its fluid intermingling of chorus, solo and ballet, Traetta repeatedly subverts the norms of opera seria. There are few extended arias, virtuosity is at a premium and solos are always likely to burgeon into duets or choruses, often with striking dramatic effect. Gluck and, more distantly, Rameau are obvious models, especially in the poignant extended scene for Antigone and her companions that opens Act II. Two salient features of the score are the rich scoring for woodwind (including clarinets) and the searching accompanied recitatives. Traetta can't quite match Gluck's stark classical simplicity, and his dramatic sense can falter, especially in the perfunctory denouement. But at its finest, Antigona is a noble and moving work that should come as a revelation to many lovers of 18th-century opera. Under Christophe Rousset, the performance - based on concerts at the Beaune Festival - exudes the excitement of first discovery, with vivid choral and orchestral contributions and intensely characterful solo singing, above all from Maria Bayo as a vulnerably youthful Antigone and Anna Maria Panzarella as her sweet-toned sister Ismene.
Performance *****
Sound *****
© BBC Music Magazine 2001
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