Maestros of the tango
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]
Jochen Kowalski is one of the most charismatic and successful male altos of our time and has built up an unusually and wide-ranging and extensive repertoire. It is the dramatic quality of his voice which makes it special.