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Customer reviews

4.7 out of 5 stars
15
4.7 out of 5 stars

on 8 February 2013
Cencic clearly is improving with age - I have never heard him sing so beautifully and dramatically. His CD, with ravishing orchestration provided by the seventeen-strong Il Pomo d'oro, consists of extracts from composers of Opera Seria working in Venice in the early 18thc. , many of them unfairly neglected. I was very grateful to be introduced to Porta, Gasparini, Giacomelli, and Sellito and to be re-aquainted with Caldara, Albinoni and Vivaldi. Most of Vivaldi's arias and that of Caldara are dark,stirring and wrathful, with Cencic giving full rein to his bravura coloratura. Porta's manages to convey the apprehension in the libretto through melodic arabesques and despite a lighter treatment . Cencic infuses Gasparini's affecting and gently unfolding 'Dolce mio ben' with all the adoration and devotion required.Similarly, he imparts to us the combination of lamentation and desperation in Giacomelli's lyrical ' Sposa...non mi'. Albinoni's 'Pianta bella' marks a high point on this CD and gives us another dimension of this man (only remembered for his 'Adagio'),who was,in fact, a prolific producer of operas. Cencic brings out the compassionate poignancy of his gently flowing melodic lines. Equally arresting is Vivaldi's aria from Motezuma, moving at a regal pace and full of florid yet moving passages. The defiant,bright and virtuosic aria by Sellitto provides a stimulating 'coda' to this collection. If you adore superlative counter-tenor singing ,which can capture all the emotions of the text ,and all things Venetian ( and even 'Rococo' packaging) you must immerse yourself for an hour in these fulgent arias of the Serenissima
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on 31 August 2017
Le récital de Max Emanuel Cencic a été bien accueilli en France. C'est Opéra Magazine, sous la plume de Cyril Mazin qui lui a accordé la mention la plus favorable avec un 'Diamant Opéra'. Le critique écrit de Cencic qu'il possède : "Une voix rare et envoûtante, dans un répertoire qui l'est tout autant: il n'en fallait pas davantage pour faire de ce disque une réussite éclatante!"
Pour sa part, Roger-Claude Travers (Diapason # 611 - 03/2013) apprécie le choix d'arie effectué par Censic et note que le contre-ténor n'est " jamais outré dans l'expression, parfaitement maître de ses moyens, souple et somptueux sur tous les registres, (il) s'abandonne". Son "... aplomb impressionne... dans les airs de tempête ou de vengeance". Pour Travers l'accompagnement de Il Pomo d'Oro est sans faille. Sans être parfait, l'enregistrement se mérite une note de 5 diapason.
Chez Classica (#150 -03/2013) l'appréciation de Jérémie Bigorie est un peu sévère. (Note: 3)
Nous avons ici un récital centré sur le thème de la Serenissima qui vient consacrer "... la maturité d'un chanteur au sommet de ses moyens". Bigorie souligne également la contribution de l'ensemble Il Pomo d'Oro dirigé par Ricardo Minasi.
Du côté des Anglais on va d'éloges en éloges. David Vickers rédige une très courte critique de ce disque pour Gramophone (04/2013), la moitié de son appréciation étant consacré à l'enregistrement que réalise Xavier Sabata avec Minasi et Il Pomo d'Oro. Vickers accueille fort bien la prestation de Cencic écrivant de ce dernier "... qu'il est suprêmement habile à se moquer des passages colorature". Seul bémol, il aurait souhaité davantage de cuivres et d'instruments à vent au sein de l'ensemble musical.
Chez BBC Music Magazine (Note: 5) on souligne l'importance de cette parution "... qui nous fait découvrir des airs d'opéra totalement inconnus". Cencic, selon Kate Bolton, négocie les acrobaties vocales de ce répertoire sans effort - sa voix est légère, agile. Sa technique assurée". Il se montre "... tantôt tendre et séducteur, tantôt arrogant et furieux, développant et articulant les lignes mélodiques avec un réel sens de leur poésie".
John T. Hughes rédige pour International Record Review (04/2013) une analyse essentiellement descriptive traitant successivement des principaux extraits d'opéra du CD. Il ne tarit pas d'éloges sur la façon dont Cencic interprete chacun de ces extraits.
Du côté américain, deux compte-rendus sont à retenir. En premier lieu, pour David Shengold - Opera News (05/2013) trois éléments sont à souligner. Le choix des airs interprétés par Cencic qui fait sortir de l'oubli des compositeurs qui ne sont pas toujours associés de nos jours à l'opéra, tel Albinoni qui pourtant aurait composé quelque 81 opéras! En ce qui concerne Cencic, ce qui frappe surtout c'est sa facilité à chanter les parties de legato et également sa facilité à intégrer les notes plus basses dans une ligne mélodique contrairement à plusieurs autres contre-ténors". Finalement il découvre en Il Pomo d'Oro "... un ensemble à cordes vif et une direction bien assurée".
Chez Fanfare (07-2013) l'enregistrement est fortement recommandé par Bertil van Boer "... à quiconque souhaite explorer brièvement le monde de l'opéra vénitien de la première moitié du 18e siècle". Nous sommes en présence d'un chanteur "qui se sent très à l'aise face aux embûches que présente cette musique, offrant une excellente interprétation, le tout d'une habileté hors pair". Cencic "... peut parfaitement exprimer tous les types d'émotion, de la peine à la rage, et sa façon d'interpréter les roulades souvent tortueuses est toute naturelle, comme si c'étaient là des morceaux dénués de difficulté".

Chez Classic @ la Carte, on poursuit le recensement des critiques disponibles. On peut les consulter dans la section « Récompenses / Awards – 2013 ». Il vous suffit d’effectuer une recherche au moyen des deux expressions suivantes « classicalacarte + ID315 ».
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on 16 April 2013
Max Emanuel Cencic can do no wrong for me. His was the first counter tenor voice that made me sit up and pay attention. The obvious dedication to his craft, the faultless technique, the unparalleled musical intelligence coupled with a perfectly judged emotional intensity, and above all a simply wonderful voice, make up his art.

This recording is a set of Venice-related arias, and showcases some slightly lesser known composers and arias well worth adding to your catalogue, and Max seems to have found a niche recording gap, not for the first time. (However Max, never give up the greatest of them all - Handel - where the sheer quality and challenge of the music allows you to shine like nowhere and no-one else.)

This is an excellent recording with Il Pomo d'oro and Riccardo Minasi providing a scintillating setting. I don't hesitate to recommend it. (The perhaps unfair loss of one star is because the repertoire cannot [of course] meet top Handelian standards.)
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on 31 May 2014
I think I can safely say that Max Cencic is my favourite countertenor at the moment. The voice is stunning, smooth, rounded and silky with a terrific range and his coloratura is always amazing. There's something else incredibly satisfying too and I can only describe it as flamboyance - everything is so assured and confident and glossy and I love it. This is a very good recital made up of a number of Vivaldi items interspersed with arias from less familiar composers, some totally new to me such as Porta and Sellitto. My favourite number is probably the gorgeously delicate 'Mormorando quelle fronde' by Porta (strings and harpsichord) which is pretty much on repeat on my iPad along with the dramatic 'Io son rea' from Vivaldi's 'Argippo' and the hectic 'Barbaro non comprendo' by Caldara (fantastic coloratura here).

There is really strong support from Il Pomo d'Oro conducted by Riccardo Minasi. If you love baroque opera then you will adore this!
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VINE VOICEon 19 March 2014
...anything of great significance to the existing reviews here. The singing of Max Emanuel Cenčić is of course gorgeous, but if I refrain from giving this a full five stars, it's because the programme is a little unbalanced for me and could do with some highly dramatic pieces, rage arias, which it rather lacks. The latest (at the time of writing) compilation from Cenčić, Rokoko - Hasse Opera Arias, is more rounded in this respect, and is a preferable place to start for those new to Cenčić, better showcasing his versatility and virtuosity.
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on 21 February 2013
I must admit I was not familiar with Max Emanuel Cencic's name before I discovered him when browsing for something new to add to my Mp3 player recently, but what a find! He has the most gloriously silky tone and superb agility in this collection and his voice and artistry are mesmerising. I have long been a fan of the counter-tenor voice and have a lot of CDs of Andreas Scholl but this young singer has found a place in my heart already. I would recommend this album without hesitation. The singing is top-notch and the musical accompaniment is thrilling. I'm sure you will not be disappointed.
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on 23 February 2017
I hadn’t really heard many countertenors before I bought this album and most of those I had heard had been a little strained, so nothing prepared me for Cencic. His luxurious, warm, resonant and amazingly natural voice wasn’t what I’d imagined at all. I was hooked. And this is a wonderful place to begin if you, as I was then, are just getting into Baroque music. Favourite tracks include the sparkling Anche in mezzo a perigliosa by Vivaldi, with its demanding vocal runs up and down the scale; and the beautifully romantic Pianta bella, pianta amata by Albinoni. Having now listened to some of Cencic's earlier recordings, I can hear that his voice on Venezia is deeper, richer and more mature, making it a sumptuous delight to listen to. This album is sophisticated, grand and refined, very much like Venice herself.
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on 15 March 2013
Blissful singing of some wonderful, and in some cases, rare music.
If you love good counter tenors than this is definitely for you!
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on 7 March 2013
I'm always on the look out for the new and exciting and I've found it with this superb albumn from Max Emanuel Cencic and Il Pomo d'oro under Riccardo Minasi, Max Emanuel has the most wonderful countertenor voice I've ever heard and is just perfect for Die Barock Musik he sings so well, each track is pure bliss, especially if you love, as I do, the music of the 17th/18th centuries. - I can't recommend it too highly.
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on 25 April 2013
I cannot get enough of this and play it incessantly! The voice is exquisite: Alfred Deller, James Bowman, Cecilia Bartolli, Ferrier and Baker all rolled into one - and then some! But it isn't just the tone or timbre of the voice that seduces, but the sparkling interpretation and delivery. What silky lyricism, what vibrant verve! Can't wait to discover more of this artist.
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