Castrati

Sacrificium: The Music of the Castrati (Cecilia Bartoli, Il Giardino Armonico, Giovanni Antonini) (Re-Up)

Sacrificium: The Music of the Castrati (Cecilia Bartoli, Il Giardino Armonico, Giovanni Antonini) - DVD5
Italiano | NTSC 16:9 (720x480) | LPCM Stereo; DTS, 5.1 | 60 min | 3.93 GB
Recorded at Palace of Caserta in 2009 | Released: 2010 | Label: DECCA | Sub: English, Francais, Deutsch, Italiano, Espanol

A beautiful scenic film by Olivier Simonnet. Filmed in high-definition widescreen. Cecilia Bartoli sings virtuoso arias from her Sacrificium album, on location in and around the spectacular baroque palace of Caserta in Southern Italy, just outside of Naples. This unique film shows Cecilia Bartoli in full costume singing a selection of showpiece arias written for the castrato stars of the Neapolitan school. Ravishing locations including the Court Theatre, the stunning Vestibule and the Palace Gardens. Arias include Handel's "Ombra mai fu" and Broschi's "Son qual nave"–previously only available in the deluxe version of the album. The film also showcases the leading Italian period ensemble Il Giardino Armonico under their director Giovanni Antonini. Special bonus features include an illustrated interview in which Cecilia Bartoli talks about the Sacrificium project, and a visual guide to the Palace, town and region of Caserta. (amazon.com)
Sopranos y Castrati en el Londres de Farinelli - "Caro dardo" (La Tempestad)

Sopranos y Castrati en el Londres de Farinelli: Scarlatti D., Porpora, Roseingrave, Veracini, Arne, Hasse, Handel - "Caro dardo" (La Tempestad)
Baroque | 1 CD | EAC | FLAC+CUE+LOG | Scans | TT 57’57 | 315.48 MB
La Tempestad, Xavier Sabata, Olalla Alemán
Released: 2007 | Label: Címbalo Producciones, S.L.
Farinelli, Il Castrato: Original Motion Picture Soundtrack (1994)

Farinelli, Il Castrato: Bande Originale Du Film (1994)
Ewa Mallas-Godlewska (soprano) & Derek Lee Ragin (countertenor)
Les Talens Lyriques, conducted by Christophe Rousset

EAC | FLAC | Tracks (Cue&Log) ~ 268 Mb (incl 5%) | Mp3 (CBR320) ~ 146 Mb (incl 5%) | Scans ~ 81 Mb
Soundtrack, Score, Classical, Vocal | Label: Auvidis Travelling | # K 1005 | 01:00:42

Soundtrack to the film 'Farinelli', the 1994 biopic film about the life and career of Italian opera singer Farinelli, considered one of the greatest castrato singers of all time. It stars Stefano Dionisi as Farinelli and was directed by Belgian director Gérard Corbiau. Although Dionisi provided the speaking voice, Farinelli's singing voice was provided by a soprano, Ewa Malas-Godlewska and a countertenor, Derek Lee Ragin, who were recorded separately then digitally merged to recreate the sound of a castrato. Through the film the general public discovered a whole repertoire of works for a voice that can no longer be heard today. The soundtrack from the film became a bestseller, as we discovered with delight some beautiful pieces by Handel, Pergolesi, Hasse, Porpora and others, in a unique interpretation.
Tim Hecker - Love Streams (2016) [Official Digital Download 24/96]

Tim Hecker - Love Streams (2016)
FLAC (tracks) 24-bit/96 kHz | Time - 42:55 minutes | 884 MB
Studio Master, Official Digital Download | Artwork: Front cover

Tim Hecker has revealed details of his latest album, and first record for 4AD. The Canadian composer will release Love Streams on April 8, 2016. Love Streams takes its cues from the avant-classical orchestration and extreme electronic processing of his previous full-length, 2013’s Virgins, but shaped into more melancholic, ultraviolet hues. Inspired by notions of 15th century choral scores (particularly those by Josquin des Prez), transposed to an artificial intelligence-era language of digital resonance and bright synths, the album was assembled gradually, with layers of studio-tracked keyboards, choir and woodwinds being woven into the mix, then molded and disfigured through complex programming. Like hearing some ancient strain of sacred music corrupted by encryption, Hecker admits to thinking about ideas like “liturgical aesthestics after Yeezus” and the “transcendental voice in the age of auto-tune”, during its creation.

Christoph Willibald Gluck - Orfeo Ed Euridice (1982)  Music

Posted by frangarbla at Oct. 23, 2009
Christoph Willibald Gluck - Orfeo Ed Euridice (1982)

Christoph Willibald Gluck - Orfeo Ed Euridiceo
DbPowerAMP, FLAC (tracks, no cue) + MP3 (320@ CBR) | 560.04 Mb (FLAC) + 304.27 Mb (MP3) | 127 minutes | Full artwork and covers.
classical, opera | Erato Records, Recorded at Glyndebourne, Great Britain on June, 1982.

Orfeo ed Euridice (French version: Orphée et Eurydice; English translation: Orpheus and Eurydice; Spanish Translation: Orfeo y Eurídice) is an opera composed by Christoph Willibald Gluck based on the myth of Orpheus, set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing...
Robert Crowe & Il Furioso - Handel: The Complete "Amen, Alleluia" Arias (2017)

Robert Crowe & Il Furioso - Handel: The Complete "Amen, Alleluia" Arias
Classical, Baroque Sacred, Vocal | WEB FLAC (tracks) & d. booklet | 57:33 min | 246 MB
Label: Toccata Classics | Tracks: 22 | Rls.date: 2017

Over a period of some twenty years, from the late 1720s, Handel composed a series of virtuoso arias using only thewords Allelujah and Amen as his texts. They were probably for use in private worship, and take their place in the tradition of Divine Song established by Purcell and other composers. Here they receive their first recordings, set in a context of contemporary sacred song and instrumental music, with theaccompaniment provided by the beguiling sound of two theorbos and chamber organ. They are heard here in the extraordinarily dramatic timbres of a male-soprano voice perhaps as close as modern listeners can come to the vocal acrobatics of the castrati who so amazed their own audiences.
Iestyn Davies, Arcangelo, Jonathan Cohen - Johann Sebastian Bach: Cantatas Nos 54, 82 & 170 (2017)

Johann Sebastian Bach: Cantatas Nos 54, 82 & 170 (2017)
Iestyn Davies, countertenor; Arcangelo; Jonathan Cohen, conductor

EAC | FLAC | Image (Cue&Log) ~ 341 Mb | Mp3 (CBR320) ~ 154 Mb | Artwork included
Genre: Classical, Vocal | Label: Hyperion | # CDA68111 | Time: 01:04:51

Gramophone Magazine Editor's Choice - January 2017. Ich habe genug is a timeless, transcendental masterpiece: a profound expression of Christian faith at the very end of life. It demands artistry of a special order, and Iestyn Davies now joins the likes of Dietrich Fischer-Dieskau and Lorraine Hunt Lieberson in the work’s distinguished discography. The couplings are equally ravishing performances of two other great solo cantatas, while the two orchestral sinfonias which complete the album will prove refreshingly familiar.

Anne Rice - Un grido fino al cielo  eBooks & eLearning

Posted by Karabas91 at April 13, 2017
Anne Rice - Un grido fino al cielo

Anne Rice - Un grido fino al cielo
Italian | 1999 | 597 pages | ISBN: 8820004038 | EPUB | 0,7 MB

Un grandioso affresco dell’Italia del Settecento, che mette a fuoco un mondo sconosciuto ai più, quello dei cantori castrati. Tonio, erede di una nobile famiglia veneziana, a quindici anni viene drogato, rapito e castrato: da quel momento vivrà solo per coltivare la sua passione per la musica… e per la vendetta. Guido è il suo insegnante: anch’egli educato alla lirica, ha però perso la voce e Tonio rappresenta la sua unica vera speranza di riscatto. Insieme, soffrono e lottano per vivere e amare non come emarginati, ma come veri uomini.

Handel - Faramondo (Diego Fasolis) [2009]  Music

Posted by Vilboa at April 9, 2017
Handel - Faramondo (Diego Fasolis) [2009]

Handel - Faramondo (Diego Fasolis) [2009]
Classical | Virqin 5099921661129 | TT: 65.59+48.52+51.17 | EAC (FLAC, cue, log) | Covers | 848 Mb

Until it was revived in the late twentieth century, Handel's opera Faramondo was performed just eight times in London in 1738 and then fell into obscurity. According to the conventions of Italian opera of the period, men's roles were often written for women, in spite of the lack of dramatic realism, and the use of castrati was common, so higher voices strongly predominate. Handel wrote the title role, which would have gone to a castrato, usually a male alto, for Cafarelli, who had the range of a mezzo-soprano. This recording is exceptional in its use of countertenors in all the male roles, and it's intriguing to hear together the variety of voice types lumped together as "countertenors"; the singers here are distinctly males altos, mezzo sopranos and sopranos. The early twenty first century is blessed with an abundance of extraordinarily fine countertenors, and the singers on this recording are exceptional, with voices of great tonal fullness and purity, agility, and individuality.

Handel - Rodrigo (Alan Curtis) [1999]  Music

Posted by Vilboa at April 7, 2017
Handel - Rodrigo (Alan Curtis) [1999]

Handel - Rodrigo (Alan Curtis) [1999]
Classical | Virgin 7243 5 45897 2 | TT: 79.15+75.34 | EAC (FLAC, cue, log) | Covers | 720 Mb

Until recently, so much of this first opera that Handel wrote for Italy was lost that it was unviable to stage it. The rediscovery of the missing material, a triumph of scholarly detective work, reveals the confident high spirits which characterise so much of Handel’s music during his Italian visit. It lacks the instrumental colours of his more lavish London productions, with many arias supported by continuo alone. All are here, complete (even six which Handel himself discarded), but many are brief and, under Curtis’s lively direction, the dramatic tension builds up splendidly. He has also shortened the recitative, reflecting Handel’s own tendency later, in England, when writing for a non-Italian speaking audience. After a fleeting moment of uncertainty in the Overture, the orchestral playing is superb throughout. Both Banditelli (Rodrigo) and Calvi (Fernando) are well-characterised in their trouser roles, an apt touch of darkness in the voice reflecting Handel’s original castrati. Piau is appealing as Rodrigo’s forgiving wife in some of the most memorable arias – her first with delicate flutes, in Act II, confusing the ear with ambiguous up-beat rhythms. Fedi, as Rinaldo’s rejected mistress, is uncomfortably hard-edged when passions are roused. Outstanding is Müller, duetting alluringly with bassoon, strutting arrogantly in a victory celebration. (George Pratt, BBC Music Magazine)