Special offer. Heinichen: Flavio Crispo
Leandro Marziotte (Flavio Crispo), Dana Marbach (Elena), Alessandra Visentin (Fausta), Silke Gang (Imilee), Nina Bernsteiner (Gilmero), Tobias Hunger (Massiminiano), Ismael Arroniz (Costanttino)
Il Gusto Barocco, Jorg Halubek
Halubek’s shaping of attractive arias is spot-on…Notwithstanding Alessandra Visentin’s feisty singing, the crucial role of Fausta is diminished by heavy cuts…Heinichen’s opera emerges from its...
Special offer. Heinichen: Flavio Crispo
Leandro Marziotte (Flavio Crispo), Dana Marbach (Elena), Alessandra Visentin (Fausta), Silke Gang (Imilee), Nina Bernsteiner (Gilmero), Tobias Hunger (Massiminiano), Ismael Arroniz (Costanttino)
Il Gusto Barocco, Jorg Halubek
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Halubek’s shaping of attractive arias is spot-on…Notwithstanding Alessandra Visentin’s feisty singing, the crucial role of Fausta is diminished by heavy cuts…Heinichen’s opera emerges from its...
About
Following the premiere of Brescianello’s Tisbe, Johann David Heinichen’s Flavio Crispo is now the second discovery of a never-performed Baroque opera in an interpretation by Il Gusto Barocco. This Italian opera by Heinichen, one of the most valuable documents of its times in matters of compositional history, had been forgotten for some three hundred years until the ensemble premiered it in 2016. The historical circumstances behind this opera are very special: a quarrel involving the two world-famous castrati Senesino and Berselli caused a scandal that prevented the premiere of Heinichen’s opera at the Dresden court. Some anecdotes relate that the singers accused the composer of imperfect knowledge of Italian and tore the score to shreds during the rehearsal process while he looked on. Others state that Handel had wooed away the Dresden singers during a journey from Italy to London. The score is a masterpiece.
Contents and tracklist
- Il Gusto Barocco
- Jörg Halubek
- Recorded: 18 June 2016
- Recording Venue: Konzertsaal Musikhochschule Stuttgart, Germany
Awards and reviews
May 2019
Halubek’s shaping of attractive arias is spot-on…Notwithstanding Alessandra Visentin’s feisty singing, the crucial role of Fausta is diminished by heavy cuts…Heinichen’s opera emerges from its long neglect into an appreciative light, but the integrity of its text
July 2019
Marziotte is a fine Flavio, displaying a full tone, secure voice production and well-articulated passaggi, though his diction is poor…The best singing comes from the Imilee of the mezzo Silke Gäng, whose lovely tone, intelligent approach and accomplished way with ornaments and divisions bring near-unalloyed pleasure.