Lucia Cirillo
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Vivaldi: Il Bajazet, RV 703
Renato Dolcini (baritone), Raffaele Pe (countertenor), Valeria La Grotta (soprano), Sonia Prina (contralto), Loriana Castellano (mezzo), Lucia Cirillo (mezzo-soprano), Orchestra Del Teatro La Fenice Di Venezia, Federico Maria Sardelli
In the title role, Renato Dolcini proves the master of commanding bluster while Raffaele Pé's Andronico gilds Hasse's elegant 'Quel ciglio vezzosetto' with some stylish singing, and Valeria... —
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Veracini: Adriano en Siria
Sonia Prina (Adriano), Ann Hallenberg (Farnaspe), Roberta Invernizzi (Emirena), Romino Basso (Sabina), Lucia Cirillo (Idalma), Ugo Guagliardo (Osroa)
Europa Galante, Fabio Biondi
Biondi reveals the score's potential with perfect pacing, breathless silences and towering affective climaxes, leaving you wanting more even after three hours...Hallenberg delivers peak-career... —
Awards:
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Gramophone Magazine, February 2015, Editor's Choice
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Special offer. Vivaldi: Dorilla in Tempe
RecommendedRomina Basso (Dorilla), Serena Malfi (Elmiro), Marina de Liso (Nomio), Lucia Cirillo (Filindo), Sonia Prina (Eudamia), Christian Senn (Admeto)
I Barocchisti, Diego Fasolis
Fasolis and I Barocchisti deliver a ripe and zesty performance…In this new account there is dramatic tautness to recitatives…Elmiro’s energetic Neapolitan-style arias by Hasse and Leo are sung... —
Awards:
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Presto Recording of the Week, 22nd December 2017
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2 CDs
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Handel: Catone
Sonia Prina (Catone), Lucia Cirillo (Marzia), Riccardo Novaro (Cesare), Kristina Hammerström (Arbace), Roberta Invernizzi (Emilia)
Auser Musici, Carlo Ipata
There is a fine orchestral sound and the singers are generally of a high standard...What is certain is that this particular pastiche, and probably others which Handel confected for his London... —
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Vivaldi: Dixit Dominus
Sara Mingardo (contralto), Paul Agnew (tenor), Roberta Invernizzi (soprano), Thomas Cooley (tenor), Lucia Cirillo (soprano), Sergio Foresti (bass), Georg Zeppenfeld (bass), Dresdner Instrumental-Concert, Körnerscher Sing-Verein Dresden, Peter Kopp
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Richard Flury: Casanova E l'Albertolli
Luigi De Donato, Carlo Allemano, Lavinia Bini, Federico Benetti, Emanuele D’Aguanno, Mattia Olivieri, Riccardo Pisani, Matteo Bellotto, Lucia Cirillo (mezzo-soprano), Mario Cei, Marco Bussi, Marco Scavazza, Massimo Altieri, Orchestra della Svizzera Italiana, Coro della RSI, Diego Fasolis
the general style lies somewhere between Richard Strauss in Rosenkavalier mode and the comedies of Wolf-Ferrari...the performance is creditable, with an accomplished cast of principals, a decent... —
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Péchés d'opéra: virtuoso pieces for Horn by Rossini
Francesca Baccetta, Alessandro Denabian, Lucia Cirillo (mezzo-soprano)
Before he inconvenienced everyone by dying, Rossini composed his Péchés de vieillesse (Sins of Old Age), one of which was the ‘Prélude, thème et variations pour cor’, featured in a new release... —
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Vivaldi - Dixit Dominus
Körnerscher Sing-Verein Dresden & Dresdner Instrumental-Concert (on original instruments), Peter Kopp
Vivaldi discoveries are not infrequent. …a third D major setting by the composer of the Vespers psalm Dixit Dominus, appears here on disc for the first time. It is a splendid piece: with scoring... —
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Vivaldi: Orlando furioso, RV Anh. 84
Lucia Cirillo (mezzo-soprano), Michela Antenucci (soprano), Sonia Prina (contralto), Riccardo Novaro (baritone), Loriana Castellano (mezzo-soprano), Konstantin Derri (counter-tenor), Luigi Schifano (counter-tenor)
Diego Fasolis
Lucia Cirillo is a suitably bewitching Alcina...Luigi Schifano’s Ruggiero is the pick of the countertenors – tone focused but never pushed…while Konstantin Derri is a tidy, prettily sung Medoro.... —
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Special offer. Mozart: La finta Giardiniera
Krešimir Špicer (Don Anchise), Julie Martin du Theil (La Marchesa Violante), Bernard Richter (Il Contino Belfiore), Anett Fritsch (Arminda), Lucia Cirillo (Ramiro), Giulia Semenzato (Serpetta), Mattia Olivieri (Nardo)
Orchestra del Teatro alla Scala (on period instruments), Diego Fasolis, Frederic...
this is an interesting and hugely enjoyable performance of a production that certainly has its flaws and errors, but also the merit of original thought that fundamentally respects the intentions... —
