Special offer. Zingarelli: Giulietta e Romeo
L'opéra de Napoléon
Franco Fagioli (countertenor), Adèle Charvet (mezzo-soprano), Orchestre de l'Opéra Royal, Stefan Plewniak
Awards:
-
International Classical Music Awards, 2022, Nominated - Premiere Recording
As befits a composer who had undergone Neapolitan conservatoire training in the 1760s, Zingarelli’s style owes much to the transitional operatic reforms of the likes of Sacchini (one of his...
Special offer. Zingarelli: Giulietta e Romeo
L'opéra de Napoléon
Franco Fagioli (countertenor), Adèle Charvet (mezzo-soprano), Orchestre de l'Opéra Royal, Stefan Plewniak
Purchase product
Awards:
-
International Classical Music Awards, 2022, Nominated - Premiere Recording
As befits a composer who had undergone Neapolitan conservatoire training in the 1760s, Zingarelli’s style owes much to the transitional operatic reforms of the likes of Sacchini (one of his...
About
Contents and tracklist
Zingarelli:
Giulietta e Romeo, Act I Scene 7: Deh per pieta (Giulietta, Romeo, Matilde)
Work length4:29
- Philippe Talbot
- Orchestre de l'Opéra Royal
- Stefan Plewniak
- Philippe Talbot
- Orchestre de l'Opéra Royal
- Stefan Plewniak
Zingarelli:
Giulietta e Romeo, Act I Scene 14 & 15: Io vile indegno (Romeo, Teobaldo, Gilberto, Giulietta, Everardo, Coro)
Work length6:37
- Philippe Talbot
- Orchestre de l'Opéra Royal
- Stefan Plewniak, Franco Fagioli
Zingarelli:
Giulietta e Romeo, Act III Scene 3: Giovane afflitta (Giulietta, Romeo, Matilde, Teobaldo, Gilberto, Everardo, Coro)
Work length2:02
Awards and reviews
-
International Classical Music Awards2022Nominated - Premiere Recording
July 2022
As befits a composer who had undergone Neapolitan conservatoire training in the 1760s, Zingarelli’s style owes much to the transitional operatic reforms of the likes of Sacchini (one of his teachers), Jommelli and Traetta, but there are also hints of the emergent bel canto style...Arias are generally at their best when in a languid, pathetic style such as the tearful Romeo’s invocation ‘Ciel pietoso’ (Act 2)
