Cimarosa’s opera, which reuses some items from the composer’s Il matrimonio in ballo of 1776, exists in two versions. The first – the holograph manuscript of which is preserved in the Conservatorio di Musica SW. Pietro a Majella, in Naples – was entitled Il credulo and consists of two acts – although the second contains only one scene and a chorus. The second version is in one act and is entitled Il credulo deluso. The manuscript of this version is in London, British Library Add MS. 16001. The one-act version omits a few items, particularly some in Neapolitan dialect.
Max Emanuel Cencic accurately describes himself as a mezzo-soprano rather than a counter tenor. His tone, while pure, is colorfully nuanced, nothing like the blanched purity that was once (but is thankfully no longer) stereotypical of counter tenors. A lifetime of singing the most advanced repertoire has given him a confident technique, exceptionally sure intonation, astonishing vocal power, and an effortless-sounding flexibility; at the age of six he sang the Queen of the Night's "Der Hölle Rache on Zagreb" television, and he went on to become a soloist with the Vienna Boys' Choir. On this album he tackles some of Handel's most virtuosic and demanding mezzo arias, most of them relatively unfamiliar. /quote]
For today s audiences, Vivaldi s name exemplifies Venetian opera in the early 18th century but he was not the only composer to shape the distinctive musical aesthetic of the great trading city known as La Serenissima. In this release of arias by Vivaldi and his contemporaries, countertenor Max Emanuel Cencic further explores Venice s contribution to world s rich store of Baroque opera. Cencic recreates the Venetian ambiance with the support of Italian violinist/conductor Riccardo Minasi and his ensemble Il Pomo d Oro.
Christoph Willibald Gluck has a place in the history books for a few big hits and for the idea of reforming the ornate style of opera seria serious opera in the 18th century, replacing it with a more natural ideal of melody. This reputation has rested on a very few pieces, and both bibliographic control and recorded explorations of Gluck's music are perhaps more sparse than for any other major composer.