Xavier Sabata : Catharsis

Record and Artist Details

Composer or Director: Francesco Bartolomeo Conti (Contini), Johann (Adolph) Hasse, George Frideric Handel, Pietro Torri, Domenico Natale Sarro, Antonio Vivaldi, Giuseppe Maria Orlandini, Antonio Caldara, Attilio (Malachia) Ariosti

Genre:

Opera

Label: Aparte

Media Format: CD or Download

Media Runtime: 66

Mastering:

DDD

Catalogue Number: AP143

AP143. Xavier Sabata : Catharsis

Tracks:

Composition Artist Credit
Caio Marzio Coriolano, Movement: Spirate, o iniqui marmi…Voi d’un figlio tanto misero Attilio (Malachia) Ariosti, Composer
Armonia Atenea
Attilio (Malachia) Ariosti, Composer
George Petrou, Conductor
Xavier Sabata, Countertenor
Temistocle, Movement: Ah, frenate il pianto imbelle Antonio Caldara, Composer
Antonio Caldara, Composer
Armonia Atenea
George Petrou, Conductor
Xavier Sabata, Countertenor
Griselda, Movement: In te, sposa Griselda, mi uccido…Cara sposa Francesco Bartolomeo Conti (Contini), Composer
Armonia Atenea
Francesco Bartolomeo Conti (Contini), Composer
George Petrou, Conductor
Xavier Sabata, Countertenor
Admeto, Re di Tessaglia, Movement: Introduction George Frideric Handel, Composer
Armonia Atenea
George Frideric Handel, Composer
George Petrou, Conductor
Xavier Sabata, Countertenor
Admeto, Re di Tessaglia, Movement: Orride larve George Frideric Handel, Composer
Armonia Atenea
George Frideric Handel, Composer
George Petrou, Conductor
Xavier Sabata, Countertenor
(La) Conversione di Sant' Agostino, Movement: Viver vogl’io sempre per te moi dio…Or mi pento Johann (Adolph) Hasse, Composer
Armonia Atenea
George Petrou, Conductor
Johann (Adolph) Hasse, Composer
Xavier Sabata, Countertenor
Adelaide, Movement: Ciò che donò…Alza al ciel Giuseppe Maria Orlandini, Composer
Armonia Atenea
George Petrou, Conductor
Giuseppe Maria Orlandini, Composer
Xavier Sabata, Countertenor
Adelaide, Movement: O del moi caro ben…Già mi sembra al carro avvinto Giuseppe Maria Orlandini, Composer
Armonia Atenea
George Petrou, Conductor
Giuseppe Maria Orlandini, Composer
Xavier Sabata, Countertenor
Valdemaro, Movement: Valdemaro – Sorte nemica…Quando onor favella al core Domenico Natale Sarro, Composer
Armonia Atenea
Domenico Natale Sarro, Composer
George Petrou, Conductor
Xavier Sabata, Countertenor
Griselda, Movement: Vorresti col tuo pianto Pietro Torri, Composer
Armonia Atenea
George Petrou, Conductor
Pietro Torri, Composer
Xavier Sabata, Countertenor
Farnace, Movement: Gelido in ogni vena (Act 2, scene 6) Antonio Vivaldi, Composer
Antonio Vivaldi, Composer
Armonia Atenea
George Petrou, Conductor
Xavier Sabata, Countertenor
Notwithstanding several spelling errors in the track-listing on Aparté’s back cover, this recital album’s intelligent variety of dramatic atmospheres give Xavier Sabata and Armonia Atenea a vivid workout. ‘Alza al ciel pianto orgogliosa’ from Orlandini’s Adelaide (Venice, 1729) is performed with steely malevolence. There is a fascinating comparison between two settings of Zeno’s libretto Griselda: the contrapuntal minor-key strings and melodic voice part in ‘Cara sposa’ from Conti’s version (Vienna, 1725) is a real gem of pathos-laden beauty, whereas ‘Vorresti col tuo pianto’ from Torri’s version (Munich, 1723) has acerbic energy.

The extreme velocity of Petrou’s direction and Sabata’s exaggerated singing in Vivaldi’s ‘Gelido in ogni vena’ labours the point – a little less could have been considerably more (this alto transposition is apparently from the 1730 Prague opera Argippo). The opening scene of Handel’s Admeto (1727) and the prison scene from Ariosti’s Coriolano (1723) are given intensive interpretations in which the loud and soft contrasts during accompanied recitatives are accordingly abrasive or deeply sentimental – an approach that risks diminishing nuanced coherence – but the ensuing slow arias are each articulated tenderly. Oboes and horns contribute subtly to the rococo style of Hasse’s depiction of the newly converted St Augustine (Dresden, 1750), and there is a lilting gracefulness in the title-hero’s ‘Ah, frenate il pianto imbelle’ from Caldara’s Temistocle (Vienna, 1736).

The music-making is never devoid of interest and richness, but it is at its most persuasive when the performers let the music speak more naturally.

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