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Mazzocchi, D: La Catena D’Adone

Scherzi Musicali, Nicolas Achten

Mazzocchi, D: La Catena D’Adone
Haute-contre Reinoud Van Mechelen's top register is impressively sweet in Adones first monologue...and the incantation scene between the desperate sorceress and unhelpful Pluto in Act 4 is compelling...

Mazzocchi, D: La Catena D’Adone

Scherzi Musicali, Nicolas Achten

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This release includes a digital booklet

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Haute-contre Reinoud Van Mechelen's top register is impressively sweet in Adones first monologue...and the incantation scene between the desperate sorceress and unhelpful Pluto in Act 4 is compelling...

About

La Catena d’Adone was first performed in 1626 and marked the arrival of opera in Rome. With all the characteristics of the genre, a pastoral tale in one prologue and five acts, it chronicles the tumultuous love lives of Adonis, Apollo, Venus and Falsirena… Its frivolous and sensual, why even erotic tone, is placed in sharp contrast with Christian morality in a perfectly mastered Recitarcantando style supported here by a wealth of instruments.

This opera whose mark on the early baroque period was immense, here appears for the first time on a recording. This disc is also important in the catalogue of Alpha as it inaugurates the arrival of a very young conductor, who is also a director, singer and player of theorbo, harpsichord and harp, and follows the path set by great musical pioneers such as Vincent Dumestre and Pablo Valetti.

Contents and tracklist

Prologo (Apollo): De puri campi o Regnator lucente
Track length3:04
Prologo (Ciclopi): La Saette sovr'i Rei – Ritornello
Track length1:39
Atto 1: Scena I (Falsirena, Idonia): E qual dolce novella
Track length8:27
Atto 1: Scena II (Adone, Echo): Rapido à par de venti
Track length4:13
Atto 1: Scena II (Adone): Dunque piagge ridenti
Track length1:53
Atto 1: Scena III (Falsinera, Idonia, Adone): Tanto basti a l'incanto
Track length6:15
Atto 1: Scena III (Falsinera): Rida l'auretta amante
Track length1:11
Atto 1: Scena III (Choro di Ninfe e di Pastori): Mira, mira gioioso
Track length6:19
Atto 2: Scena I (Idonia, Oraspe, Arsete): Dunque Oraspe fedel nuntio ne sei
Track length5:52
Atto 2: Scena II (Falsinera, Oraspe, Idonia, Arsete): O nel volto non meno
Track length9:07
Atto 2: Scena II (Falsinera): Quà trà gioie gradite
Track length0:58
Atto 2: Scena III (Choro di Ninfe e di Pastori): O meraviglie altissime d'Amore
Track length4:38
Atto 3: Scena I (Arsete): Qual indurato scoglio
Track length4:18
Atto 3: Scena II (Adone): Son deste le mie luci
Track length2:11
Atto 3: Scena III (Falsinera, Adone): Dove, dove ne vai
Track length7:56
Atto 3: Scena IV (Falsinera, Idonia, Oraspe, Choro di Ninfe e di Pastori): L'alme pure degli Dei
Track length8:48
Atto 3: Scena IV (Choro di Ninfe e di Pastori): Sù sù dunque pastori
Track length1:30
Atto 4: Scena I (Idonia): O con dubbio stupore
Track length2:36
Atto 4: Scena II (Idonia): Dubbiosa e vacillante
Track length1:47
Atto 4: Scena III (Falsirena, Plutone): Per cosi lieve brama
Track length4:32
Atto 4: Scena III (Choro di Ninfe e di Pastori): De la Maga il grave accento
Track length3:15
Atto 5: Scena I (Adone solo): Amor non sia che speri
Track length3:11
Atto 5: Scena II (Falsirena, Adone): D'acque magiche sparsa
Track length4:34
Atto 5: Scena II (Falsirena): Dunque liete e ridenti
Track length0:50
Atto 5: Scena III (Venere, Adone, Amore, Falsirena): Florido nembo dal suo grembo
Track length10:44
Atto 5: Scena III (Venere, Amore, Adone): Si, si, cara mia speme
Track length3:57
Atto 5: Scena III (Primo e secondo Choro): La selva con bei canti
Track length2:07
Atto 5: Scena III (Tutto il Choro): Lieto dopo l'errore
Track length1:42

Awards and reviews

October 2012

Haute-contre Reinoud Van Mechelen's top register is impressively sweet in Adones first monologue...and the incantation scene between the desperate sorceress and unhelpful Pluto in Act 4 is compelling in its supernatural darkness and emotional bitterness.

26th April 2012

La Catena d'Adone shows some debt to Monteverdi, but its declamatory style owes more to the Florentine intermedi of the end of the 16th century...The singers and instrumentalists of Scherzi Musicali have worked hard to master this nuanced, flexible style; the eight singers double roles as well as forming the chorus, and accompaniments are touched in tactfully. It's presented with great care, even if its significance seems more historical than musical.
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