Glossa
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Rediscovering Spain: Fantasías, diferencias & glosas
from 16th- and 17th-century Spain
Raquel Andueza (soprano) & Fahmi Alqhai (viola da gamba & direction)
Accademia del Piacere, Fahmi Alqhai
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[Conradi’s] published lute tabelatures pass muster among the best German baroque repertoire … Moreno matches this fine music with first-class performances … highly recommended. —
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Beethoven: Missa Solemnis in D major, Op. 123
Carolyn Sampson (soprano), Marianne Beate Kielland (alto), Thomas Walker (tenor) & David Wilson-Johnson (bass)
Cappella Amsterdam & Orchestra of the Eighteenth Century, Daniel Reuss
The Orchestra of the Eighteenth Century plays with passionate commitment, and the Capella Amsterdam is fervent —
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Monteverdi: Vespro della beata Vergine (1610)
Recorded at Basilica di San Maurizio, Pinerolo, Italy, in September and October 2016
La Compagnia del Madrigale, Cantica Symphonia, La Pifarescha, Giuseppe Maletto
In the large choral items such as Nisi Dominus we are met with a magisterial and uplifting wall of sound, amply supported by a jamboree of instruments from the group La Pifarescha. The solo... —
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Purcell: The Fairy Queen, Z629
Caroline Mutel (soprano), Guillaume Andrieux (baritone), Kevin Greenlaw (baritone), Virginie Pochon (soprano), Caitlin Hulcup (mezzo-soprano), Samuel Boden (tenor), Christophe Baska (counter-tenor), Julien Picard (tenor), Ronan Nédélec (bass), Anders J. Dahlin (tenor), Frédéric Caton (bass), Hjördis...
Among d’Herin’s large team of soloists, the bass Frederic Caton contributes steady, sensitive performances as Sleep and Winter … his [Herin] orchestra plays extremely well in a style far more... —
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Handel: Lucio Cornelio Silla, HWV10
Sonia Prina (Silla), Martina Belli (Claudio), Sunhae Im (Metella), Vivica Genaux (Lepido), Roberta Invernizzi (Flavia), Francesca Lombardi Mazzulli (Celia), Luca Tittoto (Il Dio)
Europa Galante, Fabio Biondi
Genaux navigates tricky coloratura splendidly as Lepido, whose lover Flavia is sung eloquently by Roberta Invernizzi … Listeners might enjoy Biondi’s sheen of vitality. —
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Ricchezza: Los Santos Niños
Marta Fumagalli (San Giusto), Federica Pagliuca (San Pastore), Luca Cervoni (Soldato) & Giuseppe Naviglio (Daciano)
Cappella Neapolitana, Antonio Florio
The oratorio is essentially an extended trial scene set to fluent music of contrapuntal elegance and appositely varying dramatic moods for all four participants…The boys are characterised with... —
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Clorinda e Tancredi
Love scenes by Claudio Monteverdi
Francesca Lombardi Mazzulli (soprano), Luca Dordolo (tenor), Riccardo Pisani (tenor), Davide Benetti (bass) & Marco Mencoboni (harpsichord, direction)
Cantar Lontano
[Dordolo’s] firm clear diction and sensitive rhetorical control, which at times moves into a kind of speech-song, extracts every last ounce of carefully calculated drama from Monteverdi’s narrow... —
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Their playing is unfussy, and expressive without the blight of self-indulgent rubato. The overall sound is well balanced, their ensemble spot on, and their lightness of touch for non-obtrusive... —
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