Suor Angelica is one of the three one-act operas that comprise Puccini's Il Trittico. Of the three, it's the most lyrical and tragic; it also features an all female cast. Set in a 17th-century convent near Florence, it tells the tragic tale of a noblewoman who is forced to become a nun to repent the sin of having had a child outside wedlock, thus causing a huge scandal in her social circle. The baby is immediately taken from her, and Angelica is left with no news about him, nor her family, for seven long years. Although seemingly adjusted to the convent's daily routine - she has become an expert in herbal remedies - Angelica is desperate to hear from her family, but when an aunt finally visits her, Suor Angelica is coldly informed that her son died from an incurable disease two years earlier. The aria Senza mamma (Without Mama) is the tragic peak of both this moment and the whole opera. In her distress, Angelica resolves there is only one option left to be reunited with her child: she proceeds to prepare some poison and drink it. On the verge of death she asks for forgiveness, which the Virgin Mary grants her, appearing with a young boy by her side. "Anna Maria Chiuri, who plays the character of the Princess, has a beautifully projected and even contralto voice, a monumental fraseggio which well suits the character's elusiveness... Valerio Galli directs the Orchestra del Maggio Musicale Fiorentino with great self assurance. The performance is excellent, the sound is homogeneous, round and sparkling with energy. Suor Angelica's intimate religious sense flows naturally into the colors and shades of the finale. " (Connessiallopera. It)

Donizetti: Anna Bolena

“Roberto Devereux” (1837) saw the light of day during a period of intense creativity for Donizetti. After its premiere and up until 1848, Devereux was performed almost uninterruptedly. In the years that followed it would also enjoy a successful international career, throughout Europe and in the Americas, with versions in French, German, Russian, and Hungarian. When Donizetti moved to Paris in 1838, he enriched the opera with the overture that paraphrases the British anthem “God Save The Queen.” The Queen dominates from her very entrance, a true protagonist, here performed by the great Mariella Devia: her pure voice, perfect intonation, great stage presence, all combined with the technical qualities of her voice, led to an extended standing ovation. It was a great success, too, for Sonia Ganassi (Sarah) and the tenor Stefan Pop (Devereux).

The winner of the Compoamor Prize as best 2015 production, this Otello - a Macerata Opera Festival and Festival Castell de Peralada coproduction - was entrusted to a star of teh current direction firmament, the Spanish director and set designer Paco Azorin, and conducted by Riccardo Frizza. Frizza gives back to this Verdi score all of its beauty, its refined orchestral and harmonic writing, at the same time leading with confidence the singers: the solid Othello of the American tenor Stuart Neill, an imposing figure and a very interesting voice, rich in nuances; the lyrical Desdemona of Jessica Nuccio, debuting in this role; and the excellent Jago of Roberto Frontali, a fine singer and charismatic actor. Azorin's direction cleverly employs the length and breadth of the great stage of the Arena Sferisterio, also thanks to an inspiring use of lighting and projections.

Gaetano Donizetti's La Favorite was rather laborious in the making: it started out as a re-working of L'Ange de Nisida, to which the composer added parts taken from some other operas of his. The work, which was premiered at the Op�ra of Paris, is set in 14th-century Castile and tells the story of the hapless love between Fernand, who has second thoughts about taking holy orders and leaves the monastery of Santiago de Compostela, and Leonor, the mistress of king Alphonse XI. It is an intimate drama, where history and politics are but the backdrop to the protagonists' passions and torments. Fabio Luisi's conducting is both measured in balancing the orchestral sounds, and personal, varied and vigorous. The orchestra is crystal-clear, neat in it's accompaniment, neither subject to the voices nor prevaricating. Veronica Simeoni (Leonor), Celso Albelo (Fernand) and Mattia Olivieri (Alphonse) give excellent vocal and acting performances.

VERDI: Ernani

Written for exceptional singers, Il Trovatore has remained popular ever since its first performance at the Teatro Apollo in Rome on January 19, 1853, when even the toughest critics were convinced of its place in the repertoire. People are attracted to Il Trovatore because of its rousing melodies, its brutal, powerful plot, and its simple structure: elements tha tmake it one of the best examples of Verdi's theatre pieces. Recorded live at the Sferisterio theatre of Macerata in the summer of 2016, under conductor Daniel Oren's vibrant and incisive direction, this production boasts a first-rate cast and elegant direction from Francisco Negrin. The sets and costumes by Louis Desire and lightning by Bruno Poet were well received by the Sferisterio audience.

The winner of the Campoamor Prize as best 2015 production, this Otello – a Macerata Opera Festival and Festival Castell de Peralada coproduction – was entrusted to a star of the current direction firmament, the Spanish director and set designer Paco Azorín, and conducted by Riccardo Frizza. Frizza gives back to this Verdi score all of its beauty, its refined orchestral and harmonic writing, at the same time leading with confidence the singers: the solid Othello of the American tenor Stuart Neill, an imposing figure and a very interesting voice, rich in nuances; the lyrical Desdemona of Jessica Nuccio, debuting in this role; and the excellent Jago of Roberto Frontali, a fine singer and a charismatic actor. Azorín’s direction cleverly employs the length and breadth of the great stage of the Arena Sferisterio, also thanks to an inspiring use of lighting and projections.

“Roberto Devereux” (1837) saw the light of day during a period of intense creativity for Donizetti. After its premiere and up until 1848, Devereux was performed almost uninterruptedly. In the years that followed it would also enjoy a successful international career, throughout Europe and in the Americas, with versions in French, German, Russian, and Hungarian. When Donizetti moved to Paris in 1838, he enriched the opera with the overture that paraphrases the British anthem “God Save The Queen.” The Queen dominates from her very entrance, a true protagonist, here performed by the great Mariella Devia: her pure voice, perfect intonation, great stage presence, all combined with the technical qualities of her voice, led to an extended standing ovation. It was a great success, too, for Sonia Ganassi (Sarah) and the tenor Stefan Pop (Devereux).

World Premiere recording! This Mass has come down to US as a single manuscript source, dated 1689 and kept in the Archive of the Holy House Shrine in Loreto. The manuscript is archaic not only in looks but also in content, disposition of the parts, and notation. It is difficult not to think of this Missa as a devout testament offered by Legrenzi to the Virgin of Loreto.

The Orchestra di Padova e del Veneto is currently one of the most renowned chamber orchestras in Italy. Since its conception in 1966, the orchestra has collaborated with the most prestigious international artists, such as Martha Argerich, V. Ashkenazy, Anne-Sophie Mutter, Sviatoslav Richter and K. Zimerman. Mozart composed these 3 concerts between the summer of 1782 and the beginning of 1783 for his own use.

The event of "I Musici" is something extraordinary. It's the oldest (or if you prefer most long-lived) chamber group still active. They opened the way of Italian 18th century music to the whole world. They carried Rome's name, of course Italy's and Italian music to five continents, roving with their repertoire from the 18th to the 21st century.

Scarlatti, A.: Giuditta (La) [Opera]

PIANO WORKS

Viotti: Violin Concertos (Complete), Vol. 10