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Francesconi: Ballata

Marco Beasley, Anders Larsson, Ildiko Komlosi, Woo-Kyung Kim, Eberhard Francesco Lorenz, Laure Delcampe, Donal J. Byrne, Stephan Loges, Susanne Schimmack & Silvia Weiss

Orchestre Symphonique et Choeurs de La Monnaie, Kazushi Ono

Francesconi: Ballata
it's the nihilistic resolve of the undertaking that most impresses: Francesconi is resolute in his large-scale realisation of the despairing Mariner's humiliation by the quixotic spirit of Life-in-Death,...

Francesconi: Ballata

Marco Beasley, Anders Larsson, Ildiko Komlosi, Woo-Kyung Kim, Eberhard Francesco Lorenz, Laure Delcampe, Donal J. Byrne, Stephan Loges, Susanne Schimmack & Silvia Weiss

Orchestre Symphonique et Choeurs de La Monnaie, Kazushi Ono

Purchase product

2 CDs

$28.25

This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched.

it's the nihilistic resolve of the undertaking that most impresses: Francesconi is resolute in his large-scale realisation of the despairing Mariner's humiliation by the quixotic spirit of Life-in-Death,...

About

A new chapter in the Ricordi Oggi series, the collection that enacts the strong partnership between Stradivarius and the prestigious Casa Ricordi publishing house.

This world première recording is dedicated to Luca Francesconi and his Ballata, a two-act opera whose libretto, by Umberto Fiori, is based upon S. T. Coleridge’s Rime of the Ancient Mariner. Francesconi confirms his particular confidence for large-scale musical thought, rather than merely show a flair for illustrative brilliance.

"Coleridge’s Mariner confronts a natural world that is implacably adverse, one that [...] remains magnificently indifferent to its needs. To respond to that requires a sense of pacing, of large-scale dynamic proportion, that must prevail over any proclivity to exuberant detail.[...] That sense of scale [...] is everywhere in Francesconi’s recent work. [...] Fiori’s fine libretto is so constructed as to allow for the enchained series of numbers that are integral to that form of dramaturgy, because they pace the opera’s progress through a sequence of images and actions whose synopsis could be presented in a few, trite sentences, but whose power and resonance can only be felt when worked through at the slow, remorseless pace common to Francesconi’s opera, and Coleridge’s poem” David Osmond-Smith, liner notes.

Contents and tracklist

Prelude
Track length4:04
Track length8:28
Track length8:28
Track length0:36
Track length0:36
Track length3:13
Track length3:13
Track length2:10
Track length2:10
Il passaggio
Track length0:53
Il passaggio
Track length0:53
Track length17:14
Track length3:57
Track length0:40
Track length3:25
Track length5:28
Track length1:28
Track length17:14
Track length3:57
Track length0:40
Track length3:25
Track length5:28
Track length1:28
Track length1:50
Track length1:50
Track length0:30
Track length0:30
Track length0:35
Track length0:35
Track length1:40
Track length1:40
Track length6:24
Track length6:24
Interlude
Track length6:22
Interlude
Track length6:22
Track length7:26
Track length7:26
Track length1:20
Track length1:20
Track length4:08
Track length4:08
Track length0:32
Track length0:32
Track length17:59
Track length17:59
Track length1:33
Track length1:33
Track length24:54
Track length24:54
Track length4:14
Track length4:14
Track length9:32
Track length9:32

Awards and reviews

12th August 2011

it's the nihilistic resolve of the undertaking that most impresses: Francesconi is resolute in his large-scale realisation of the despairing Mariner's humiliation by the quixotic spirit of Life-in-Death, and of Death's utter disinterest in his victims. And, as might be expected of a pupil of Berio and Stockhausen, he wields a terrifying sonic palette. Not for the faint-hearted.
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