Special offer. Soler, V M: La Capricciosa Corretta
Josep Miquel Ramon (baritone), Marguerite Krull (soprano), Yves Saelens (tenor), Enrique Baquerizo (baritone), Carlos Marin (baritone), Katia Velletaz (soprano), Raphaella Milanesi (soprano), Emiliano Gonzalez-Toro (tenor)
Les Talens Lyriques, Christophe Rousset
Christophe Rousset, who has prepared the performing edition and has provided an excellent booklet essay, offers a vital and stylish account of this engaging, fast-moving drama. Rousset's strong...
Special offer. Soler, V M: La Capricciosa Corretta
Josep Miquel Ramon (baritone), Marguerite Krull (soprano), Yves Saelens (tenor), Enrique Baquerizo (baritone), Carlos Marin (baritone), Katia Velletaz (soprano), Raphaella Milanesi (soprano), Emiliano Gonzalez-Toro (tenor)
Les Talens Lyriques, Christophe Rousset
Purchase product
Christophe Rousset, who has prepared the performing edition and has provided an excellent booklet essay, offers a vital and stylish account of this engaging, fast-moving drama. Rousset's strong...
About
Contents and tracklist
- Katia Velletaz (soprano), Raffaella Milanesi (soprano), Josep Miquel Ramon (baritone), Carlos Marin (baritone), Yves Saelens (tenor), Marguerite Krull (soprano), Enrique Baquerizo (baritone), Emiliano Gonzalez-Toro (tenor)
- Talens Lyriques, Les
- Christophe Rousset
Act I Scene 1: Recitative: Tamburinoio voglio farmi (Valerio, Isabella, Cilia, Fiuta, Bonario)
Track length3:15
Act I Scene 1: Recitative: Ma cosa devo farvi (Bonario, Valerio, Fiuta, Isabella, Cilia)
Track length1:38
Act I Scene 1: Recitative: Non son chi son se pria di domattina (Fiuta, Cilia, Valerio)
Track length1:14
Act I Scene 3: Recitative: Che bello spasso e il mio vedermi intorno (Ciprigna, Don Giglio, Valerio, Cilia, Bonario, Fiuta)
Track length1:25
Act I Scene 3: Recitative: Bravissino davvero (Ciprigna, Don Giglio, Fiuta, Bonario)
Track length1:07
Act I Scene 3: Quintetto: Togliti agl'occhi miei (Ciprigna, Bonario, Don Giglio, Valerio, Fiuta)
Track length3:39
Act I Scene 9: Recitative: Eterni Dei, che intesi! Io che ho gia visti (Ciprigna, Cilia)
Track length2:41
Act I Scenes 9-10: Recitative: Costei fammi ad un tratto (Cilia Fiuta, Valerio, Lelio)
Track length0:56
Act I Scene 11: Aria: Son gia stanco, o donna indegna (Bonario, Isabella, Cilia, Fiuta, Ciprigna, Valerio)
Track length6:19
Act I Scenes 12-13: Recitative: Che scompiglio, che fracasso! (Isabella, Cilia, Valerio, Fiuta, Bonario, Don Giglio))
Track length1:57
Act I Scenes 14-15: Finale: Presto, presto, la famiglia (Ciprigna, Don Giglio, Lelio, Bonario, Fiuta, Cilia)
Track length4:09
Act II Scene 12: Recitative: Ah scellarati! (Bonario, Valerio, Isabella, Lelio, Cilia)
Track length1:25
Act II Scene 13: Recitative: Son qui solo, quasi ho paura (Don Giglio, Lelio, Ciprigna)
Track length3:11
Act II Scene 14: Recitative: Ed or cosa ho da far? (Bonario, Fiuta, Valerio, Lelio, Ciprigna)
Track length0:32
Act II Scenes 14-15: Finale 1: Giusto Ciel, che sparo e questo! (Bonario, Ciprigna, Cilia, Lelio, Valerio, Fiuta, Isabella)
Track length6:02
Act II Scene 16: Finale: Recitative: Ciel, che vedo! (Ciprigna, Fiuta, Bonario, Don Giglio)
Track length1:56
Awards and reviews
September 2004
Christophe Rousset, who has prepared the performing edition and has provided an excellent booklet essay, offers a vital and stylish account of this engaging, fast-moving drama. Rousset's strong cast responds sympathetically to the music. Consistently secure and internally well-balanced support by Les Talens Lyriques set the seal on a hugely enjoyable studio production.
2010
Mozart's affectionate quotation from Martín y Soler's Una cosa rara in the Don Giovanni dinner music suggests he admired his Spanish contemporary, whose music was praised by others as 'sweet' and 'graceful'. Such descriptions remain apt for a charming and brilliantly executed performance that's essential for anybody curious about late 18th-century opera beyond Mozart.
The best operas of his later years were produced in London. La capricciosa corretta was first performed at the King's Theatre in 1795 under the title La scuola dei maritati; Its plot concerns the marriage of an older man to a young second wife whose excessive vanity and capriciousness makes life miserable for everybody else.
The libretto was by Lorenzo da Ponte. There are illuminating musical and dramatic parallels with, most notably, Così fan tutte and Le nozze diFigaro. 'Se figli vi siamo' is a gorgeous lyrical quintet, graced with sensitive woodwind colour, that wouldn't be out of place in Così. 'Qui vive, e respira' is a tender tenor aria in which Lelio softly enthuses about the woman he loves: it's a striking counterpart of Ferrando's 'Un' aura amorosa'. Valerio's mock-martial aria 'Un fucil, un spadon' is an intriguing close descendant of Figaro's 'Non più andrai', with a lightly scored military accompaniment illustrating a text about taking up a post in the army.
Individual personalities aren't portrayed to quite such memorable effect as in Mozart, of course, but there's plenty of distinctive music to overcome the inevitable comparisons.
Christophe Rousset's cast of relative unknowns deliver a competent and committed team performance.
Les Talens Lyriques savour the music with their customary zest and astute musical intelligence.