Opera arias of the Serenissima
Minasi and his ensemble in recital discs from countertenors Cencic and Sabata
View record and artist detailsRecord and Artist Details
Composer or Director: Francesco Gasparini, Geminiano Giacomelli, Antonio Vivaldi, Tomaso Giovanni Albinoni, Antonio Caldara, Giovanni Porta
Genre:
Vocal
Label: Virgin Classics
Magazine Review Date: 04/2013
Media Format: CD or Download
Media Runtime: 63
Mastering:
Stereo
DDD
Catalogue Number: 464545-2
Tracks:
Composition | Artist Credit |
---|---|
Adriano in Siria |
Antonio Caldara, Composer
Antonio Caldara, Composer Il Pomo d'Oro Max Emanuel Cencic, Singer, Countertenor |
(La) costanza combattuta in amore |
Giovanni Porta, Composer
Giovanni Porta, Composer Il Pomo d'Oro Max Emanuel Cencic, Singer, Countertenor |
A' piedi miei svenato |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Il Pomo d'Oro Max Emanuel Cencic, Singer, Countertenor |
Flavio Anicio Olibrio |
Francesco Gasparini, Composer
Francesco Gasparini, Composer Il Pomo d'Oro Max Emanuel Cencic, Singer, Countertenor |
Anche in mezzo a perigliosa |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Il Pomo d'Oro Max Emanuel Cencic, Singer, Countertenor |
Merope, Movement: Sposa, non mi conosci |
Geminiano Giacomelli, Composer
Geminiano Giacomelli, Composer Il Pomo d'Oro Max Emanuel Cencic, Singer, Countertenor |
Argippo |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Il Pomo d'Oro Max Emanuel Cencic, Singer, Countertenor |
(Il) Nascimento dell'Aurora |
Tomaso Giovanni Albinoni, Composer
Il Pomo d'Oro Max Emanuel Cencic, Singer, Countertenor Tomaso Giovanni Albinoni, Composer |
(La) Verita' in Cimento, Movement: Mi vuoi tradir lo so (Act 1, Scene 11) |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Il Pomo d'Oro Max Emanuel Cencic, Singer, Countertenor |
Montezuma |
Antonio Vivaldi, Composer
Antonio Vivaldi, Composer Il Pomo d'Oro Max Emanuel Cencic, Singer, Countertenor |
Nitocri |
Giuseppe Sellitto
Giuseppe Sellitto, Composer Il Pomo d'Oro Max Emanuel Cencic, Singer, Countertenor |
Composer or Director: George Frideric Handel
Label: Aparte
Magazine Review Date: 04/2013
Media Format: CD or Download
Media Runtime: 53
Mastering:
Stereo
DDD
Catalogue Number: AP048
Tracks:
Composition | Artist Credit |
---|---|
Tamerlano |
George Frideric Handel, Composer
George Frideric Handel, Composer Il Pomo d'Oro Riccardo Minasi, Musician, Violin Xavier Sabata, Singer, Countertenor |
Ariodante, Movement: ~ |
George Frideric Handel, Composer
George Frideric Handel, Composer Il Pomo d'Oro Riccardo Minasi, Musician, Violin Xavier Sabata, Singer, Countertenor |
Teseo, Movement: ~ |
George Frideric Handel, Composer
George Frideric Handel, Composer Il Pomo d'Oro Riccardo Minasi, Musician, Violin Xavier Sabata, Singer, Countertenor |
Amadigi di Gaula, Movement: ~ |
George Frideric Handel, Composer
George Frideric Handel, Composer Il Pomo d'Oro Riccardo Minasi, Musician, Violin Xavier Sabata, Singer, Countertenor |
Giulio Cesare, 'Julius Caesar', Movement: Belle dea di questo core |
George Frideric Handel, Composer
George Frideric Handel, Composer Il Pomo d'Oro Riccardo Minasi, Musician, Violin Xavier Sabata, Singer, Countertenor |
Giulio Cesare, 'Julius Caesar', Movement: ~ |
George Frideric Handel, Composer
George Frideric Handel, Composer Il Pomo d'Oro Riccardo Minasi, Musician, Violin Xavier Sabata, Singer, Countertenor |
Ottone, Re di Germania, Movement: ~ |
George Frideric Handel, Composer
George Frideric Handel, Composer Il Pomo d'Oro Riccardo Minasi, Musician, Violin Xavier Sabata, Singer, Countertenor |
Author: David Vickers
Xavier Sabata sticks exclusively with Handel but his exploration of ‘Bad Guys’ steers towards arias seldom heard out of context. Of the dozen arias chosen to represent dastardly cowards, misguided schemers or implacable tyrants, only Dardano’s ‘Pena tiranna’ (Amadigi) has been included on several high-profile recital albums: its doleful oboe and bassoon lines are played tenderly but Sabata’s meandering embellishments in the da capo hinder sincere dramatic truthfulness, and I wish the strings of Il Pomo d’Oro had chosen an understated simplicity that would have more profoundly illustrated Dardano’s hopelessness. Elsewhere, Sabata offers the sweetest singing he has yet produced on disc, while at the other end of the spectrum he aptly characterises Tolomeo’s petulant bullying of Cleopatra (‘Domerò la tua fierezza’). The concept necessarily excludes the shades of pastoral delicacy, amorous charm or heroic valour that the finest Handel recitals usually throw into the stew.
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