ANTONIO VIVALDI Opera Arias
Roberta InvernizziLa RisonanzaFabio Bonizzoni
GCD 922901
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Roberta Invernizzi, soprano
La Risonanza
Paolo Bacchin, trumpet Marco Panella, Alessandro Denabian, horns Nicholas Robinson, solo violin & viola d’amore Silvia Colli, Elena Telò, first violins Carlo Lazzaroni, Rossella Borsoni, Ulrike Slowik, second violins Gianni de Rosa, viola Caterina Dell’Agnello, cello Davide Nava, double bassCraig Marchitelli, archlute, theorbo & Baroque guitar
Fabio Bonizzoni, harpsichord & direction
Production details
Total playing time 70:14 Recorded at Oratorio di Santa Croce, Mondovì, Italy, in October 2011 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Design: Valentín Iglesias Booklet texts: Mark Wiggins & Renato DolciniEnglish - Français - Deutsch - Italiano - Español
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ANTONIO VIVALDI Arias de óperas
01 Combatta un gentil cor 4:30 [Lucio – Tito Manlio, atto II, scena XI]
02 Leggi almeno, tiranna infedele 5:40 [Caio – Ottone in villa, atto II, scena VI]
03 Da due venti un mar turbato 3:15 [Ippolita – Ercole sul Termodonte, atto II, scena I]
04 Non ti lusinghi la crudeltade 8:48 [Lucio – Tito Manlio, atto II, scena I]
05 Rete, lacci e strali adopra (Geminiano Giacomelli) 4:14 [Filindo – Dorilla in Tempe, atto II, scena IX]
06 Se garrisce la rondinella 6:11 [Ersilla – Orlando finto pazzo, atto II, scena XIV]
07 Ombre vane, ingiusti orrori 6:34 [Costanza – Griselda, atto III, scena V]
08 Fra le procelle del mar turbato 4:43 [Lucio – Tito Manlio, atto II, scena XVIII]
09 Dite, ohimè! Ditelo, al fine 2:38 [Morasto – La fida ninfa, atto III, scena X]
10 Nacque al bosco e nacque al prato 4:07 [Leocasta – Il Giustino, atto I, scena VI]
11 Tu dormi in tante pene 8:40 [Servilia – Tito Manlio, atto III, scena I]
12 Gelosia, tu già rendi l’alma mia 3:12 [Caio – Ottone in villa, atto I, scena XI]
13 Se mai senti spirarti sul volto 10:26 [Cesare – Catone in Utica, atto II, scena IV]
14 Dopo un’orrida procella 4:27 [Ottone – Griselda, atto III, scena VI]
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Una nueva grabación con Roberta Invernizzi siempre es una garantía de placer, pero la rara ocasión en que la soprano italiana acapara todos los focos – como es el caso en esta colección de arias operísticas de Antonio Vivaldi– es una promesa de algo verdaderamente especial. Invernizzi es bien conocida por su estilo y su viveza dramática a la hora de interpretar música barroca, características ideales para afrontar esta montaña rusa de emociones que nos propone la fértil imaginación de Vivaldi, con su singular capacidad para capturar estados de ánimo y situaciones dramáticas: evocaciones pastorales, temporales marítimos, cuadros cinegéticos e, incluso, escenas carcelarias. Invernizzi expresa de forma inigualable ese rango de altibajos emocionales –rabia, desesperación, ansiedad, frustración amorosa, intensidad de los sentimientos en todos los casos...–, recorrido que culmina con su electrizante interpretación de Dopo un’orrida procella, de Griselda.
Este programa nos ofrece una selección de arias bien conocidas de las óperas de Vivaldi, al lado de unas cuantas que merecerían mayor atención (que, sin duda, van a obtener gracias a este disco). Invernizzi cuenta para su interpretación con el apoyo del exquisito ensemble La Risonanza y de la refinada dirección musical de Fabio Bonizzoni, que refleja la ya muy larga asociación musical con Roberta Invernizzi.
Estamos, sin lguar a dudas, ante la mejor ocasión para acercarnos a la música dramática de Vivaldi y dejarnos fascinar por la arrebatadora voz de Roberta Invernizzi.
Roberta Invernizzi is very clearly one of the finest sopranos to be heard today in the Baroque - and especially the Italian Baroque - repertory, as evidenced by the beauty that she brings not only to operatic roles and vocal roles which have been essayed by many other famous singers both on record and in performance, but also by her sense of clarity in and characterization of unknown music from the 17th and 18th centuries. The rediscovery of so much Italian music is a reflection of the labour and artistry of numerous musical minds but as a kind of prima donna inter pares the Milanese soprano stands out from many others for the intensity of her approach, to the point that she is emerging as a new muse for other distinguished modern-day practitioners of the Italian Baroque such as Fabio Bonizzoni and Antonio Florio who contribute here their own thoughts on the artistry of Roberta Invernizzi, adding to the soprano’s own considerations about her musical life.[read more...]
As talented as Fabio Bonizzoni is in performing music from across the Baroque spectrum – witness his Glossa recording of Bach’s Die Kunst der Fuge – he has become increasingly celebrated for his interpretations of music from Italy. This embraces not only the music of native composers such as Alessandro Scarlatti (the Serenate a Filli album) but, of course, the series of Handel Cantatas in Italian, Lully’s Ballets et récits italiens and now there is a pastiche opera with music by André Campra (born in Aix-en-Provence, but whose father was from Turin). The new recording, Gli strali d’Amore sees Bonizzoni and La Risonanza joined by haute-contre Cyril Auvity and bass Salvo Vitale as well as Bonizzoni’s fellow Milanese musician, the soprano Roberta Invernizzi, whose career as a solo star – as opposed to as her being an ensemble singer – is now starting to blossom (as they say, watch this space...). [read more...]