Spanish music reached a peak early in the 20th century, with Enrique Granados’ Goyescas numbered amongst the crowning masterpieces of its day. Infused with the innovations of Debussy and Ravel, and inspired by the colors and emotional depth of Goya’s paintings and engravings, the Goyescas are like brilliant and psychologically elaborate improvisations filled with seductively ornamented harmonies. The cycle also conceals a narrative of love and death that Granados would later develop into an opera. Multi-award-winning pianist Viviana Lasaracina’s playing was admired for its ‘beautiful liquid tone’ and summed up as ‘breathtaking’ in the New York Concert Review.

NORMA

This recording includes an amazing vocal performance of Orlin Anastasov, recorded at the very impressive medieval stronghold of Tsaverets (Bulgaria). As Benjamin Lumley wrote in his memoirs, perhaps no other opera by Verdi was received more enthusiastically or won the composer more laurels than Attila.

After his Neapolitan training Gaspare Spontini settled in Paris for a few years, where he was nominated “compositeur particulier de la chambre” of Empress Josephine, Napoleon’s wife. It was indeed Napoleon who, in 1808, commissioned him the opera, Fernand Cortez, ou La conquete du Mexique, of which he attended the 28th November 1809 premiere. The strongly idealized figure of Cortez, presented as a brave, wise and merciful general, predestined to victory, was to be an image of Napoleon. His fight against Spanish “obscurantism” was Cortez’s fight against the cruelty, superstition and dark power intrigues of the Aztec sacerdotal class. Cortez frees the Mexicans from their “evil god”, and only the High Priest refuses his clemency. Like in a piece a sauvetage, at the last moment Montezuma’s niece, Amazily, who had offered her life in exchange of that of her beloved Cortez’s brother Alvar, is rescued. The Mexican chief Telasco promotes the cessation of hostilities: the marriage between Cortez and Amazily sanctions the peace between two peoples. In Spain, the French troops met a very different fate than Cortez’s men in the happy ending of Spontini’s opera and it has been suggested that the disastrous outcome of the Spanish campaign was responsible for the limited number of performances run by Fernand Cortez in Paris between the end of 1809 and January 1812. This production is a world premiere recording of the first modern times performance of the original 1809 version. It was recorded in October 2019, exactly 500 years after Cortez’s first arrival in Mexico. Director Cecilia Ligorio drew inspiration from a murales painted by Orozco inside a building in Mexico city, where Cortez is depicted in a shiny, silver armor and Malinche – the historical figure who inspired the character of Amazily – wears no clothes and is painted with the color of Earth.

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After his Neapolitan training Gaspare Spontini settled in Paris for a few years, where he was nominated “compositeur particulier de la chambre” of Empress Josephine, Napoleon’s wife. It was indeed Napoleon who, in 1808, commissioned him the opera, Fernand Cortez, ou La conquete du Mexique, of which he attended the 28th November 1809 premiere. The strongly idealized figure of Cortez, presented as a brave, wise and merciful general, predestined to victory, was to be an image of Napoleon. His fight against Spanish “obscurantism” was Cortez’s fight against the cruelty, superstition and dark power intrigues of the Aztec sacerdotal class. Cortez frees the Mexicans from their “evil god”, and only the High Priest refuses his clemency. Like in a piece a sauvetage, at the last moment Montezuma’s niece, Amazily, who had offered her life in exchange of that of her beloved Cortez’s brother Alvar, is rescued. The Mexican chief Telasco promotes the cessation of hostilities: the marriage between Cortez and Amazily sanctions the peace between two peoples. In Spain, the French troops met a very different fate than Cortez’s men in the happy ending of Spontini’s opera and it has been suggested that the disastrous outcome of the Spanish campaign was responsible for the limited number of performances run by Fernand Cortez in Paris between the end of 1809 and January 1812. This production is a world premiere recording of the first modern times performance of the original 1809 version. It was recorded in October 2019, exactly 500 years after Cortez’s first arrival in Mexico. Director Cecilia Ligorio drew inspiration from a murales painted by Orozco inside a building in Mexico city, where Cortez is depicted in a shiny, silver armor and Malinche – the historical figure who inspired the character of Amazily – wears no clothes and is painted with the color of Earth.

The first decades of the 19th century saw an exceptional flourishing of guitar music, as an important modification in the instrument's structure had occurred in the late 1700s: the addition of a sixth string to the five in use up to then. With six strings, the guitar quickly became popular all over Europe, especially Vienna and Paris, thanks to the works of several Italian and Spanish guitarists. Among them was Mauro Giuliani, who was born near Bari, in 1781. Little is known about his training years, but in 1806 he was already an accomplished artist living in Vienna, where had friendly relationships with Beethoven, Hummel and Moscheles. Back in Italy in 1819, he failed to achieve the same success and prematurely died in Naples in 1829. In his works Giuliani skillfully merged the legacy of the Italian 18th-century instrumental tradition with the achievements of the Viennese music culture. His works are in pure classical style, but with a grace and melodic spontaneity that are typically Italian. Christian El Khouri began to study guitar at a young age. After graduating at Milan's "Giuseppe Verdi" Conservatory, he also earned a teacher's diploma which led him to his current role of guitar professor at the "Liceo Musicale P. Secco Suardo" in Bergamo. He has achieved important results as soloist in several Italian and international competitions. Maestro El Khouri's lively performing activity leads him to concertize extensively in Italy and abroad, as soloist as well as a member of ensembles and chamber music orchestras.

This is the first of five recordings dedicated to Beethoven's complete symphonies transcriptions. Gabriele Baldocci has appeared at the most important concert halls and at major music festivals. He is an ambassador, performer and professor of the Martha Argerich Presents Project and frequently plays in chamber ensembles.

Before the Rock Era, the music played at dance venues was played by Big Bands. Largely instrumental at first, singers began to front the Big Bands, and these became the most heralded voices in the history of recording. This 3 CD collection contains original recordings of the finest female divas ever. Artists include: Lena Horne, Ella Fitzgerald, Julie London, Bessie Smith, Billie Holiday & more.

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I Lombardi alla Prima Crociata is an operatic drama in four acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The work is based on an epic poem by Tommaso Grossi, which was “very much a child of its age; a grand historical novel with a patriotic slant.” Verdi dedicated the score to Maria Luigia, the Habsburg Duchess of Parma, who died a few weeks after the premiere. "I Lombardi best encapsulates the spirit of the Italian people’s desire for nationhood. One would be pleasantly surprised, full as it is, of rousing choruses and musical numbers of great beauty, with music wonderfully expressive and perfectly in accord with drama at times. Visually and musically a sumptuous staging, full of contrasting colors and glorious singing for this young Verdi's rare work." (review by Alan Nelson / Operawire). American soprano Angela Meade and the italian tenor Francesco Meli star in the main roles of this production, which is conducted by Michele Mariotti and was recorded in April 2018.

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Franco Alfano’s opera Risurrezione draws its inspiration from Tolstoy’s novel Resurrection and was the work that ensured Alfano’s considerable success as a composer. The plot narrates the story of Katiusha and her tragic love for prince Dimitri who seduces and abandons her, condemning her to a life of sacrifice and desperation. Seen here in Fancesco Lanzillotta’s acclaimed Florence production, Risurrezione recalls Richard Strauss and Puccini – the drama evolving in an uninterrupted flow with moments of soaring lyricism alongside striking and evocative orchestration. The work gives voice to an idea that Alfano left in his memoirs: ‘Recoiling from catastrophes, I believed and still believe in the renovation, regeneration, and final purification of human passions from evil to goodness.’

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Franco Alfano’s opera Risurrezione draws its inspiration from Tolstoy’s novel Resurrection and was the work that ensured Alfano’s considerable success as a composer. The plot narrates the story of Katiusha and her tragic love for prince Dimitri who seduces and abandons her, condemning her to a life of sacrifice and desperation. Seen here in Fancesco Lanzillotta’s acclaimed Florence production, Risurrezione recalls Richard Strauss and Puccini – the drama evolving in an uninterrupted flow with moments of soaring lyricism alongside striking and evocative orchestration. The work gives voice to an idea that Alfano left in his memoirs: ‘Recoiling from catastrophes, I believed and still believe in the renovation, regeneration, and final purification of human passions from evil to goodness.’

I Lombardi alla Prima Crociata is an operatic drama in four acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The work is based on an epic poem by Tommaso Grossi, which was “very much a child of its age; a grand historical novel with a patriotic slant.” Verdi dedicated the score to Maria Luigia, the Habsburg Duchess of Parma, who died a few weeks after the premiere. "I Lombardi best encapsulates the spirit of the Italian people’s desire for nationhood. One would be pleasantly surprised, full as it is, of rousing choruses and musical numbers of great beauty, with music wonderfully expressive and perfectly in accord with drama at times. Visually and musically a sumptuous staging, full of contrasting colors and glorious singing for this young Verdi's rare work." (review by Alan Nelson / Operawire). American soprano Angela Meade and the Italian tenor Francesco Meli star in the main roles of this production, which is conducted by Michele Mariotti and was recorded in April 2018.

The Avalokite Duo (harp and percussion) was created out of the enthusiasm of two colleagues and teachers, Patrizia Boniolo and Guido Facchin, who wished to acquaint the public with the concert harp and the heterogeneous world of percussion instruments in a chamber context, driven by the aim to promulgate contemporary music and, also, highlight popular music through the use of typical folk instruments, so as to merge, in music, the styles and cultures of different peoples. The repertoire of the Avalokite Duo, which includes the transcription and adaptation of important classical and popular pieces, is unique and fascinating due to the peculiar and ever-changing sounds of the countless percussion instruments used, and of the characteristic color effects provided by the harp.

This world premiere recording of Giovanni Legrenzi's oratory Il Sedec+�a marks Dynamic's 3rd recording with Oficina Musicum Ensemble.

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Taken live from the stage of the Macerata (Italy) Festival in July and August of 2016, this performance has much to recommend it despite the fact that none of the singers are familiar names. This is the kind of regional performance that the big American companies should be listening to.

Never having heard of the soprano singing Leonora, Anna Pirozzi, I checked Operabase and discovered that she sings all over Europe–plenty at Covent Garden–and that her repertoire is all of the heavy Verdi roles: Abigaille, Lady Macbeth, Aida, Amelia, and Leonora. I wouldn’t bet on her Abigaille or Lady Macbeth, but her performance here is nothing less than spectacular.

The voice is big, with a rock-solid middle register, a steely edge to the high Bs, Cs, and D-flats, and a strong bottom, which avoids chest voice for the most part. But she also can spin long, high pianissimo phrases with a Caballé-like ease. The sound is attractive (though not in the Caballé class), her Convent Scene is a model of soft, legato singing, and her entire fourth act is nothing less than magnificent. And she throws herself into the text.

Marco Caria is a very good Luna with great ease in his upper third, a fine legato, and a nice sneer. But the voice, even on a recording, sounds a bit small for the part, and when he pushes for a bigger sound the microphones catch it and he sounds a bit desperate. But for the most part, he’s a valuable addition, a true Italian voice.

Piero Pretti as Manrico is a big lyric whose schedule includes Riccardo (Ballo), Rodolfo (Bohème), and Gualtiero (Pirata), as well as more Manricos, through September 2018. The sound is appealing and well-centered, the high notes–he takes “Di quella pira” in key–admirable and solid. But he’s a size too small for the part. He’s inaudible in the stretta to the first-act finale as well as in his duets with Azucena. And in the final scene, when he should be overpowering Leonora, he simply isn’t. Try him, you’ll like him, but think of Manricos of the past and he’s a miniature.

Enkelejda Shkosa is a more internationally known singer. Her Azucena is just about perfect despite a too-quick “Stride la vampa”; Azucena’s extreme anxiety is audible throughout. Shkosa’s third act is gloriously sung, and if the conductor and recording engineers had opted for more volume it would have torn down the house. The others are all very good, paying heed to what they’re singing, and Alessandro Spina’s Ferrando is solid.

Daneil Oren’s leadership has to be judged by the fact that this was recorded over a period of a few performances, and accordingly voice/orchestra balances vary from scene to scene. And in the Tower Scene, Manrico sounds like he is standing next to Leonora. Nonetheless, Oren totally understands mid-Verdi and differentiates beautifully between the exclamatory and, for want of a better term, “post bel canto” moments in the score. He gives the singers leeway in the arias but keeps a tight rein otherwise. The sound is clear, but as mentioned, the volume levels keep changing.

In all, though–and this is the point of even reviewing this recording–aside from Netrebko’s recent outing, this is the best Trovatore to be released in quite a while. There is, by the way, a DVD and Blu-ray video of this performance. It is all in reds and blacks, with plenty of fire. The look is gothic.

– ClassicsToday (Robert Levine)

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A MusicWeb International Recording of the Month!

Francesco Cilea, a Calabrian, is remembered principally today for his opera Adriana Lecouvreur (1902), He wrote several other operas but these are rarely performed. Quite a discovery, this is the world première on commercial video of Cilea’s three act opera L’Arlesiana (The Girl from Arles). It is directed by Rosetta Cucchia and is a co-production with Wexford Festival Opera. The Italian libretto by Leopoldo Marenco was based on the play L’Arlésienne (1872) by Alphonse Daudet one of the most celebrated of his collection of short stories Letters from my windmill (Lettres de mon moulin). It was Georges Bizet who wrote the incidental music to the play L’Arlésienne, adapted and produced by Léon Carvalho, which flopped although Bizet’s music prospered.

Originally in four acts, Cilea’s verismo score was first performed in 1897 at Teatro Lirico di Milano with a young Enrico Caruso in the role of Federico. Nevertheless in 1898 the score was revised as a three-act opera with a prelude added. Over the next 44 years Cilea made a number of revisions. In 2011 whilst going through the collection of Cilea’s papers in Palmi the Italian tenor Giuseppe Filianoti unearthed the manuscript of Federico’s aria Una mattina m’apriron nella stanza that had been cut from the four act version. Filianoti had the Una mattina orchestrated by composer Mario Guido Scappucci and it is here included in Act 3.

This psychological drama revolves around Federico, a young shepherd, who becomes increasingly infatuated with a mystery woman from Arles (L’Arlesiana). As his mental state deteriorates Federico’s infatuation becomes a dangerous obsession which the people around him are unable to assuage. The woman from Arles is traditionally never shown but here she is depicted by an actress with long red hair as an apparition that haunts Federico. In the traditional ending Federico jumps to his death out of a hayloft window, whilst in this production by director Rosetta Cucchi, our hero takes his life by slashing his own throat. The elephant in the room, and maybe one of the reasons why this opera is rarely performed today, is that the plot includes an important character which is Federico’s brother, referred to as L’Innocente, who is cognitively impaired and is described in the booklet as “mentally retarded”. Mental health can be a difficult subject to broach as several reviewers of recent productions fail even to mention L’Innocente. Running through the score is the prevailing theme of mental illness and it seems that Cilea during his youth witnessed his own mother’s mental breakdown.

Sarah Bacon’s set and Claudio Pernigotti’s costumes are mainly contemporary with the opera’s composition date except for a few modern touches. Bacon’s set is the courtyard of the whitewashed Provençal farm-house that by Act 3 has become the inside of a ward in a mental home with an elevated caged area for confinement.

Russian tenor Dmitry Golovnin plays the role of Federico. It took me some time to warm to Golovnin’s bright vocal, nevertheless by Federico’s famous Lament the 2 aria È la solita storia del pastore (track 14) a favourite of Gigli, Di Stefano and Pavarotti, Golovnin’s voice has opened splendidly displaying fluidity and focus. It’s a moving account with the anguished Federico lying on the kitchen table and his brother L’Innocente cowering underneath. In act 3 the tenor’s aria Una mattina (track 21) receives a splendidly moving rendition and Golovnin can be justly proud of his portrayal of the tormented shepherd.

Luckless and long suffering Rosa Mamai is given a characterful and suitably anguished portrayal by Annunziata Vestri. With plenty of steel in her expressive voice the Italian mezzo-soprano excels in her Act 1 Romanza Era un giorno di festa (track 6) and the great Monologue from Act 3 Esser madre è un inferno (track 23). Designer Claudio Pernigotti sees fit to dress Rosa mannishly in a grey jacket buttoned up to the neck rather in the manner of James Bond villains Dr. No, Blofeld and Drax.

Cutting a persuasive figure on stage, if dressed rather too stylishly for an old shepherd, was Stefano Antonucci as Baldassarre. Complete with limp and walking stick the compassionate Baldassarre dispenses sage-like advice that no one seems to heed. From Act 1 the old shepherd’s aria Come due tizzi accesi (track 3) and from act 2 Vieni con me sui monti (track 6) are effectively sung, expressive and focused by the Italian baritone who acts sensitively throughout.

The part of the demure and girlish Vivetta is capably sung by the Italian Mariangela Sicilia. Dressed mainly in grey and hiding behind her winter tweed coat and hat it was a surprise when Vivetta undresses down to her underwear in a pitiful attempt to seduce Federico. From Act 1 Vivetta’s Romanza Dalle fresche pendici is sung effectively by Sicilia with a bright, flexible and warm soprano, although, I am not entirely convinced by her diction.

Looking like a fearsome pantomime villain baritone Valeriu Caradja in the small role of swarthy horse-herder Metifio is suitably dark and angry.

It’s a local superstition that a child such as L’Innocente brings good fortune on a household. In this household only Baldassarre pays the boy any attention. Marked by a shock of blonde hair L’Innocente is played by counter-tenor Riccardo Angelo Strano. In what is more of an acting role L’Innocente does slightly contribute vocally but nothing too serious.

Francesco Cilluffo conducts his Orchestra Filarmonica Marchigiana with verve and assurance. Similarly the well prepared 'Coro Lirico Marchigiano V. Bellini' maintains the high standard.

As I expected from Dynamic, the sound quality is satisfactorily balanced and agreeable, being clear, if a touch lacking in warmth. In High Definition the picture quality is most pleasing with an excellent definition. The accompanying booklet includes translations of a splendid essay by Giancarlo Landini and an informative note by director Rosetta Cucchi. The synopsis provided is a traditional scenario and is not totally in step with what we saw on stage under Rosetta Cucchi’s direction.

Filmed at Teatro Pergolesi, Jesi, Ancona the video direction by Tiziano Mancini is admirable, employing cameras actively. This avoids fatigue or tedium. The audience at Teatro Pergolesi is only seen whilst taking their seats before curtain up. The camera fixes on the stage action and doesn’t break to any orchestral players in the pit for solos.

This is a strong production that generates considerable dramatic tension. For those with a particular interest in verismo this Cilea work is a real find and is easy to recommend.

– MusicWeb International (Michael Cookson)

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Opera Vlaanderen of Antwerp continues its Rossini Cycle under the musical direction of conductor Alberto Zedda (87), with the rarely performed opera Armida. Armida is clearly a tenor opera par excellence, as we have four tenors here among the main roles. Enea Scala , Robert McPherson, Dario Schmunck and the young Adam Smith. Director Mariame Clément and her usual set designer Julia Hansen will also return to Opera Vlaanderen after the successfull Giasone by Cavalli released by Dynamic. They are now taking a critical look at the world of the Crusaders. Clément sees Armida as the incarnation of the concept of ‘love’, which in itself is magic and for which noble and heroic knightly ideals are cast aside. However, it is a love that turns into a destructive frenzy.

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Il Farnace is the most re-written and re-proposed of Vivaldi’s operas. Versions of Farnace, two in 1727 and one each in 1730, 1731 and 1732, were conceived and adapted to the different circumstances for Venice, Prague, Pavia and Mantua, always with a cast to Vivaldi’s satisfaction and with the composer in control of the production. The greatest appreciation of Vivaldi’s operatic music was expressed in a letter by a spectator of the 1727 Carnival season. The abbot Antonio Conti wrote that of all the operas of the Venice season he liked best Farnace because its music was varied, “between the sublime and the tender,” and because Vivaldi’s pupil worked wonders. In 1738, for the Ferrara Carnival season, Vivaldi wrote a new score of the opera. This is the last Farnace, in two acts, as the third was lost.

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The cast is the best we could possible want for Vivaldi nowadays: Ottavio Dantone's skilfull conducting brings the best out of this orchestral enchantment. Sara Mingardo brings her classy voice and remarkable stage presence to the role of the naive Statira. Delphine Galou’s bright tone and excellent agility combine with perfect diction. Roberta Mameli's crystal clear notes make of the role of Alinda a masterpiece of expressivity. Recorded in high definition, this production offers subtitles in Italian, German, English, French, Japanese, and Korean. Octavio Dantone is an Italian conductor and harpsichordist who is particularly noted for his performances of Baroque music. He has served as the Music Director of the Accademia Bizantina in Ravenna since 1996.

Norma is considered not only Bellini’s masterpiece, but also one of the best 19th century operas tout court. Yet, its premiere at La Scala in 1831, three months from the beginning of its composition, was received with a coldness that surprised even Bellini. However, in the space of a few days Norma dispelled all doubts and started on a triumphant journey. This production was recorded at the Macerata Opera Festival, and features a superb cast. It was a particularly great success for Uruguayan soprano Maria Jose Siri, who performs the title role, and Italian mezzo Sonia Ganassi who is Adalgisa. “A perfect synthesis of cast, direction, sets, lighting, and costumes,” according to Italian critics. The aria “Casta diva” received a standing ovation.

Like all the instrumental genres which were destined to last until today, the solo concerto – just like the sonata and the symphony – made its first appearance at the beginning of the XVIII th century in Italy and spread all around Europe to gain universal fame. This 10 album release features a precious and unmissable anthology of Italian violin concertos composed by Vivaldi, Bonporti, Locatelli, Tartini, Lolli, Nardini, Rolla, Viotti and Paganini. Album 1 is dedicated to Antonio Vivaldi, whose solo concertos best expressed his vibrant creativity and brought the genre of violin, strings and basso continuo concertos to fame throughout Europe. The following albums contain music composed by Vivaldi’s followers who aimed at finding their own personal voice.

Some composers such as Locatelli, Tartini and Paganini were destined to become famous all over the world, while some others were perhaps lesser known, but were able to leave their footprint in the musical field thanks to their unique style made of expressive freedom, instrumental vivacity and formal clarity which later defined the iconic Italian style. The last two albums contain music composed by Niccolò Paganini, whose daring and unattainable virtuosity brought this genre to its absolute peak.

REVIEWS:

Despite its Anglicized name, the Genoese Dynamic label specializes above all in disseminating Italian music, mainly opera, but also instrumental music. In recent years the label has released numerous recordings, in some cases complete sets dedicated to concerts by violinists-composers from the Baroque to Romanticism and which as a whole constitute a highly appreciable testimony of the evolution of the genre.

A selection and summary of this gramophonic plethora can be found in this articulated case that contains ten CDs, ten!, with violin concertos by Antonio Vivaldi (1678-1741), Francesco Antonio Bonporti (1678-1749), Pietro Antonio Locatelli (1695- 1764), Giuseppe Tartini (1692-1770), Antonio Lolli (1725-1802), Pietro Nardini (1722-1793), Alessandro Rolla (1757-1841), Giovanni Battista Viotti (1755-1824) and Nicolò Paganini (1782-1840) in the interpretation of notable virtuosos including Luca Fanfoni, Federico and Giovanni Guglielmo, Carlo Lazari and Franco Mezzena. Particularly interesting are the last two albums, dedicated to Paganini, with four of his concertos, in which Massimo Quarta, a student and follower of Salvatore Accardo, has the opportunity to shine.

-- Ritmo

Didone abbandonata was one of the greatest successes in the rather brief operatic career of Leonardo Vinci, a musician who had an adventurous life about which we still know very little. Written for Rome’s Teatro delle Dame, the opera was premiered during the 1726 Carnival season and marked the first collaboration between Vinci and Pietro Metastasio, a teamwork destined to produce abundant fruits, for in the four following years Metastasio would write as many as five new librettos for Vinci. It was immediately very successful, as was the Florentine production here presented, which was the first modern performance of Didone abbandonata, finally reviving one of the great masterpieces of early 18th-century opera. This production was recorded live at Teatro di Firenze and features a cast of Baroque specialists including Roberta Mameli, Carlo Allemano, and Raffaele Pe.

It is difficult to talk of Alberto Zedda in the past tense. Zedda was a person of such enthusiasm that it immediately rubbed off on all those who approached him. In addition to being an excellent conductor, he was an organizer of cultural events, a highly-efficient manager, full of ideas, who put at the service of music his omnivorous culture. For Dynamic Alberto Zedda recorded live Rossini’s Otello, Semiramide and Armida. Partially written in 1831 and only completed at the end of 1841, Rossini’s Stabat Mater was premiered in Paris, at the Theatre Italien, on January 7, 1842, delivered by fine soloists: Giulia Grisi, Emma Albertazzi, Mario de Candia and Antonio Tamburini. It has always been the composer’s best-known and most popular sacred work, because of the power of its dramatic contrasts and beautiful melodies, which make of it one of the masterpieces of Italian 19th-century sacred music, worthy of a place beside Giuseppe Verdi’s Messa da Requiem.

English Suites is the title traditionally given to Bach's splendid collection of dances, assembled by tonality and preceded by a Prelude, probably dating form the second decade of the 1700's, perhaps before 1717. Forkel states that the suites were composed for an English nobleman, but adds nothing more. Recently, scholars have made various suggestions: some think that the word English, for thes epieces which Bach defined Preludes avec les Suites, BWV 806-811 have always been considered the worthy counterpart of the French Suites BWV, 821-827. Alessandra Artifoni, who already recorded for Dynamic the latter, two years later proposes their twin collection, using an instrument built by Tony Chinnery after Mietke, and Neidhardt temperament.

A rare and very interesting work composed exactly in the middle of the 19th century, Crispino e la comare is one of the last examples of Italian traditional opera buffa. Composed by Neapoltan brothers Luigi and Federico Ricci, the opera quickly gained popularity in Italy but also appreciated abroad, where it was performed, between 1854 and 1871, in Constantinople, Barcelona, Malta, London, C�diz, Rio de Janeiro, Paris, New York, Warsaw, New Orleans, Mexico City, Li�ge, Brussels, Lisbon, Buenos Aires, Vienna, Santiago de Chile, Baden Baden, Berlin, Calcutta and Melbourne: virtually a planetary success. The protagonist's role is one of the great bass roles of 19th-century opera buffa, requiring an interpreter equally versed in acting and singing (as is this production's Domenico Colaianni). A production of Martina Franca Festival, Italy 2013