Opera, Caccini, F (composer)
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This eclectic, if not eccentric song recital by the musically promiscuous French countertenor Philippe Jaroussky should not work. That it does, and so convincingly, is down to the fastidious... —
Awards:
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Presto Recording of the Week, 8th October 2021
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Presto Recordings of the Year, Finalist 2021
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Heroines of Love and Loss
vocal chamber music from the 17th century
Ruby Hughes (soprano), Mime Yamahiro Brinkmann (cello) & Jonas Nordberg (lute / theorbo / archlute)
Ruby Hughes’s soprano has an effortless beauty: pliant, subtly expressive, never forced. She captures the chaste fervour of the sacred works…Brinkmann and Nordberg proffer aptly spontaneous... —
Awards:
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Gramophone Magazine, May 2017, Editor's Choice
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This live performance from the Huelgas Ensemble ahs all the intimacy of chamber music, thanks to its conversational ensemble playing and unforced singing. Mezzo Michaela Riener is aptly silver-toned... —
Awards:
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Opus Klassik Awards, 2019, Winner - Opera (up to and including 18th century)
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... if persuasion be necessary, add this to Vol.1 (NI 7807) on your shelves. —
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Beniamino Gigli in Opera and Song
Beniamino Gigli & Giuseppe De Luca, Giuseppe De Luca, Beniamino Gigli
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Special offer. Il Concerto Caccini
Nicolas Achten (soloist), Andrea Gavagnin, Wei-Lian Huang (soloist), Gwendoline Blondeel (soloist), Isabelle Druet (soloist), Pierre Derhet (soloist), Emmanuele Petracco (soloist), Scherzi Musicali
Achten is a rare proponent of playing mostly plucked instruments to accompany his own singing...Combined with recourse to five other excellent solo singers, there is almost every imaginable... —
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La Lira di Orfeo: A Tribute to Gualberto Magli
Raffaele Pé (counter-tenor), Chiara Granata (triple harp), David Miller (theorbo)
Amarilli mia bella
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Caccini, F: La liberazione di Ruggerio dall'isola di Alcina
Elena Sartori (harpsichord/direction), Elena Biscuola, Mauro Borgioni, Gabriella Martellacci, Francesca Lombardi Mazzulli, Emanuela Galli, Raffaele Giordani & Yiannis Vassilakis
Allabastrina, La Pifarescha
The sensitivity of Caccini's word setting rings clear in this sober reading. The choral singing is clean and the instrumental ritornelli are shapely, with tart improvisations for percussion... —
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