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Scenes of Horror. Airs d'opéras baroques. Fischer, Il Giratempo, Volbers.
Format : 1 CD Digipack
Total Time : 00:56:50

Recording : 12-15/12/2022
Location : Köthen
Country : Allemagne
Sound : Stereo

Label : Perfect Noise
Catalog No. : PN2306
EAN : 0719279934052
Price Code : DM021A

Publishing Year : 2024
Release Date : 10/04/2024

Genre : Classical
Georg Friedrich Haendel (1685-1759)
"Scenes of Horror, Scenes of Woe", extrait de "Jephta", HWV 70
"Scherza infida in grembo al drudo", extrait de "Ariodante", HWV 33
"Sta nell'Ircana", extrait de "Alcina", HWV 34
"Where shall I fly", extrait de "Hercules", HWV 60

Antonio Vivaldi (1678-1741)
Extraits de "L'Olimpiade", RV 725
Sinfonia en do majeur
Allegro
Andante
Allegro
Concerto en sol mineur, RV 439 "La Notte"

Carl Heinrich Graun (1704-1759)
Extraits de "Montezuma", GraunWV B:I:29
"Qual orribil destino"
"Ah, d'inflessibil sorte"
"Ma qual rumore"
"Si, corona, i tuoi trofei"

Attilio Ariosti (1666-1729)
"Questi ceppi, e quest' orrore", extrait de "La fede ne' tradimenti"

Laila Salome Fischer, mezzo-soprano
Il Giratempo
Max Volbers, direction

Des scènes d'horreur, des scènes de malheur : ce sont les visions prémonitoires de Storgé, l'épouse de Jephta, avant que celui-ci, lié par son serment à Jehovah, ne sacrifie leur fille Iphis. Cette scène de l'opéra de Haendel est typique de ces situations dramatiques, des émotions tragiques liées à l'esthétique baroque et dont l'opera seria est prodigue, et qui permettent aux chanteurs de déployer leur virtuosité et leur sens dramatique. Cet album nous en offre une belle anthologie, à partir surtout d'extraits d'opéras de Haendel, mais nous fait aussi découvrir des raretés, comme le "Montézuma" de Carl Heinrich Graun, sur un livret de Frédéric le Grand, ou l'opéra méconnu d'Attilio Ariosti, "La fede ne' tradimenti". La grande mezzo-soprano Laila Salome Fischer, de sa voix chaude et sensuelle, excelle à nous émouvoir avec ces airs pathétiques et délicats, autrefois interprétés par de célèbres castrats. Elle est superbement accompagnée par l'Ensemble Il Giratempo, fondé par le virtuose du, clavecin et de la flûte à bec Max Volbers. Celui-ci nous démontre, dans des pages instrumentales de Vivaldi, comme son célèbre concerto "La Notte", nuit pleine de cauchemars, que Vivaldi savait nous faire vibrer d'émotion sans même user de mots. (Marc Galand)

Baroque opera librettists seem to have found an impish satisfaction in thoroughly putting the heroes of their stories through the wringer before they meet their more or less glorious end or, with a bit of luck, live to celebrate the opera’s happy ending. The creativity with which they maneuver their own characters into horrifying scenarios knows no bounds. Popular subjects include fighting terrible monsters, marching into seemingly hopeless battles, various forms of murder, intricate entanglements that can only lead to disaster, lifelong imprisonment, the occasional suicide... and, of course, the full Baroque-opera bounty of creative death sentences. Our poor heroes and heroines are alternately thrown to the lions (e.g. Salustia), burnt at the stake (e.g. Croesus), set adrift in the middle of the Mediterranean on a boat with no sails (e.g. Poppea), beheaded (e.g. Tito Manlio) and so on... These scenes of horror are not only thrilling and sundry from a literary standpoint – their musical compositions are equally so. Fear and trembling are never, but never presented in a single, monotonous tone color! Our characters often go through an emotional rollercoaster: from deepest despair to sorrow and anger, from flight to fight, from love and longing to sheer insanity. Truly, a painters box full of affects, inviting composers to go wild with musical expression. “Scenes of Horror” is a baroque cabinet of grotesqueries featuring music by Georg Friedrich Handel, Attilio Ariosti, Antonio Vivaldi and Carl Heinrich Graun. As you may imagine, the Baroque librettists were not the only ones who derived sadistic pleasure from seeing their characters suffer. We also found a devilish delight in sending Laila Salome Fischer through this program’s series of nightmares.

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