Special offer. Ombra mai fu
Francesco Cavalli Opera Arias
Philippe Jaroussky (counter-tenor)
Artaserse
Awards:
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Presto Recording of the Week, 8th March 2019
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Gramophone Awards, 2019, Winner - Recital
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Presto Recordings of the Year, Finalist 2019
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International Classical Music Awards, 2019, Nominee - Baroque Vocal
If Handel’s Xerxes has a showmanship, an aesthetic swagger that Cavalli’s lacks in the lilting prettiness of his own ode to a plane tree, we see the Italian’s skill emerge elsewhere – in the...
Special offer. Ombra mai fu
Francesco Cavalli Opera Arias
Philippe Jaroussky (counter-tenor)
Artaserse
Purchase product
Awards:
-
Presto Recording of the Week, 8th March 2019
-
Gramophone Awards, 2019, Winner - Recital
-
Presto Recordings of the Year, Finalist 2019
-
International Classical Music Awards, 2019, Nominee - Baroque Vocal
If Handel’s Xerxes has a showmanship, an aesthetic swagger that Cavalli’s lacks in the lilting prettiness of his own ode to a plane tree, we see the Italian’s skill emerge elsewhere – in the...
About
New album of opera arias and symphonies by Francesco Cavalli, the prolific 17th century Venetian composer with 41 operas to his name, who was Handel’s predecessor in Hannover. Featuring Erato label mates Emőke Baráth and Marie-Nicole Lemieux , this is the first time Philippe has recorded Cavalli since his guest appearances on Christina Pluhar’s album dedicated to Cavalli, L’Amore innamorato.
Contents and tracklist
- Artaserse
- Philippe Jaroussky
- Artaserse
- Philippe Jaroussky
- Artaserse
- Philippe Jaroussky
- Artaserse
- Philippe Jaroussky
Spotlight on this release
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Philippe Jaroussky sings Cavalli
8th Mar 2019
The French countertenor leads Artaserse in a kaleidoscopic survey of the many and varied operas by the seventeenth-century Italian composer, shot through with the spirit of Venetian carnival.
Awards and reviews
-
Presto Recording of the Week8th March 2019
-
Presto Recordings of the YearFinalist 2019
-
International Classical Music Awards2019Nominee - Baroque Vocal
April 2019
If Handel’s Xerxes has a showmanship, an aesthetic swagger that Cavalli’s lacks in the lilting prettiness of his own ode to a plane tree, we see the Italian’s skill emerge elsewhere – in the delicacy with which he paints grief, loneliness and loss…No one manipulates a ground bass quite so skilfully…Jaroussky too is at his best in these whispery, crooned laments where the voice treads the line between sound and silence.
June 2019
‘Yes’ if you’re a Jaroussky fan and want to hear him in gorgeous voice; a resounding ‘no’ if you recognize that Cavalli performance norms have moved way beyond those of Leppard’s day.
8th March 2019
There’s a refreshing and often beguiling naturalness to his vocal delivery throughout, which suits this music uncommonly well...His vocal suppleness and steadiness, too, remain undiminished, which is a particular delight in Cavalli’s many long-breathed laments, where he eschews the temptation to bend pitches for expressive effect or to gild the lily by playing with vibrato and audible gear-changes…Lemieux camps things up with gleeful abandon in a remarkable scene from Calisto.
10th March 2019
Jaroussky’s “angelic” timbre has brought him cult status in his native France, but it rarely sounds right for heroic castrato parts. Cavalli’s gentler male roles suit him...the highlight is the lament from Erismena, sung with a searing intensity underlined by Artaserse’s plangent cornett soloists.
