Vincenzo Bellini (1801-1835)/Raffaello Galli (1824-1889)
Fantaisie, op. 168 sur l'opéra "Norma"

Giuseppe Verdi (1813-1901)/Giulio Briccialdi (1818-1881)
Aria di Violetta "Dite alla giovine", extrait de l'opéra "La Traviata"

Giuseppe Verdi (1813-1901)/Gaetano Casaretto
Pezzo da salotto, op. 24, extrait de l'opéra "La Traviata"

Giuseppe Verdi (1813-1901)/Vincenzo De Michelis (1825-1891)
Aria di Leonara, op. 47 "Pace, pace mio Dio", extrait de l'opéra "La forza del destino"

Giuseppe Verdi (1813-1901)/Raffaello Galli (1824-1889)
Fantaisie, op. 40 sur l'opéra "Rigoletto"

Gaetano Donizetti (1797-1848)
Sonate

Gaetano Donizetti (1797-1848)/Raffaello Galli (1824-1889)
Fantaisie, op. 165 n° 1 sur l'opéra "Lelisir d'amore"

Gioacchino Rossini (1792-1868)/Jacques Tulou
Airs italiens Cavatina "una voce poco fa", extrait de l'opéra "Il barbiere di Siviglia"

Gioacchino Rossini (1792-1868)/Charles Cottignies
Soirées Musicales Morceaux Favoris

Luisa Sello, flûte
Bruno Canino, piano

At the beginning of the nineteenth century, the eruption of Romanticism was not only a disruptive element which was capable of distorting the aesthetic and conceptual canons of the music of the time but it also brought about a series of noteworthy technical improvements in the organological sector. Without this change a number of instruments could not have expressed what was requested by composers and performers involved in this new cultural and artistic revolution – a revolution that, within a few decades, was able to build new cathedrals on the ruins of European Baroque. This record is a tribute to the extraordinary adventure of the flute though the nineteenth century, which is when this instrument increasingly assumed a stylistically independent connotation, which allowed it to become part of that group of musical instruments (such as the violin and the piano) which appealed to the cultured and well-off middle classes. This was in particular due to its capacity to “challenge” the human voice, the lyrical singing, reviving, through transcription, the famous lyrical works, the arias, well known and loved by both the aristocratic class and the humblest people alike. The choice of these compositions, therefore, focuses on the "belcanto" repertoire revised in light of the potential of the transverse flute.