Antonio Vivaldi's probably early Nisi Dominus, RV 608, and Stabat Mater, RV 621, both for solo voice and ensemble, have received several top-notch recordings, so the listener can pick on the basis of voice type and stylistic preference. Countertenor David Daniels has essayed the pair with Fabio Biondi and his Europa Galante ensemble, and you can hear the preternaturally rich contralto Sara Mingardo in a reading with the fiery Italian Baroque specialist Rinaldo Alessandrini. Here you get a countertenor, Philippe Jaroussky, in the Nisi Dominus and a female contralto, Canadian Marie-Nicole Lemieux, in the Stabat Mater. The pairing robs the whole of unity at one level, but makes musical sense; the Nisi Dominus is a more athletic work that benefits from the power of the male voice, while the Stabat Mater, especially in Vivaldi's truncated and highly dramatic setting, may require the audience to identify with a female singer.
L’histoire entre Les talens Lyriques, Christophe Rousset et Jean-Baptiste Lully (1632-1687) est l’histoire d’une réussite. Les sept disques (Persée, Roland, Armide, Amadis, Phaéton, Bellérophon et cet Alceste) du compositeur d'origine italienne naturalisé français enregistrés par l’ensemble et le chef et claveciniste Français sont tous un véritable succès critique. En quelques années, Les talens Lyriques et Christophe Rousset sont passés maître du style et de l’écriture Lulliste au point d’être devenus un (le ?) véritable intournable du genre.
60,000 people enjoying their coronation celebrations and Andre and his merry band helping them to make the most of the occasion…
Créé en 1995 par Jean-Christophe Frisch, premièrement sous le nom de XVIII-21 Musique des Lumières, XVIII-21 Le Baroque Nomade est un ensemble français ayant participé à un renouvellement de l’interprétation de la musique baroque, en s’appuyant sur les découvertes musicologiques les plus récentes. L’ensemble a notamment développé le concept de baroque nomade, travaillant sur les rencontres historiquement avérées entre musiques baroques européennes et musiques extra-européennes.
In November 1772, as the 16-year-old Mozart was preparing to astonish the Milanese with his third operatic work for the Teatro Regio Ducal, his older contemporary, Tommaso Traetta (1727–79) from the Puglia region of Italy, was presenting the premiere of his second opera for the court of Catherine the Great in St Petersburg. Today, the former’s Lucio Silla is probably better known than the latter’s Antigona. But which is the finer work? On the basis of this outstanding new recorded version, I would say that Traetta’s tragedia per musica in three acts far outclasses Mozart’s opera seria for its consistent musical inspiration and sheer theatrical know-how. If Traetta’s music were at all familiar to opera-lovers today, that would not be so surprising because this contemporary and disciple of Gluck was, by 1772, an experienced composer for the theatre, already in the prime of a life that was to end, prematurely, only seven years later. His career had taken him from the conservatory in Naples to that city’s famous San Carlo, where his first commission in 1751 was Il Farnace. From there he travelled throughout Europe.
Christophe Wallemme describes this effort as a "wink at the great standards of American jazz," a laudable objective but an affirmation that seems intended to confuse the listener. The explicit musical references on Start "So Many Ways…" point instead to Antonio Carlos Jobim and Miles Davis' Bitches Brew rather than "Body and Soul" or "My Funny Valentine." No matter.
The achievement of Namaste—and it is a genuine achievement—is also the achievement of Miles Davis's In a Silent Way (Columbia, 1969): namely, providing room to breathe in a crowded room of musicians—soloists all, not a big band. (On Miles's subsequent Bitches Brew (Columbia, 1969), in contrast, a crowded room of musicians was happy to sound like a hot and tumultuous marketplace.) Despite the carefully-crafted compositions and arrangements, it's that sumptuous but spacious sound fabric that is most remarkable about this record.