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CHAN 0728
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CHAN 0728

Stradella: Amanti olà, olà/ Chi restiste al Dio bendata

The Classical Shop
release date: September 2006

Recorded in 24 Bit / 96Khz

Originally recorded in 2005

Artists:

Estevan Verlardi


Gianluca Belfiori Doro

alto - Amore (Love)

Riccardo Ristori

bass - Accademico II (Second Academician) & Disinganno (Disenchantment)

Riccardo Ristori

basso

Rosita Frisani

soprano - Bellezza (Beauty)

Anna Chierichetti

soprano - Capriccio (Fancy)

Cristiana Presutti

soprano - Cortesia (Courtesy)

Rosita Frisani

soprano I

Anna Chierichetti

soprano II

Makato Sakurada

tenor - Accademinco I (First Academician)

Mario Cecchetti

tenor - Rigore ( Discipline)

Alessandro Stradella Consort



Venue:

Oratorio di S. Erasmo a Sori, Genoa



Producer:

Estevan Velardi



Engineer:

Roberto Chinellato



Record Label
Chaconne

Genre:

Chamber


Early Music

Total Time - 73:27
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ALESSANDRO STRADELLA

(1639-1682)
Select Complete Single Disc for
  premiere recordings  
 

Amanti olà, olà

52:15  
  Accademia d'Amore (Love's Academy)  
  A 5 voci  
  Words by Gian. Pietro Monesio  
  Edited by Estevan Velardi  
  Part One 30:15      
1 Adagio - Allegro - 3:13
2 Allegro 1:01
3 'Amanti, olà, olà!' 0:22
  Madrigale a cinque voci  
4 Recitative: 'Or no si chi paventi' 1:02
  Amore  
5 Aria: 'Non sempre dispiega' 1:16
  Bellezza  
6 Recitative: 'Or voi, dame vezzose' 0:28
  Amore  
7 Duet: D'Amore all'invito' 2:14
  Bellezza, Cortesia  
8 Recitative: 'Che sia della Beltà vanto primiero' 1:01
  Bellezza  
9 Aria: 'La beltà d'un vago viso' 6:45
  Bellezza  
10 Recitative: 'Chi rese delirante' 1:57
  Bellezza  
11 Aria: 'Sembianza ch'è bella' 1:01
  Accademico I  
12 Duet: 'L'umana alterezza' 2:05
  Bellezza, Accademico II  
13 Recitative: 'Ragioni assai possenti' 1:01
  Amore, Cortesia  
14 Aria: 'Quel violento affetto' 1:57
  Cortesia  
15 Recitative: 'Dell'alma ch'è immortale' 1:49
  Cortesia  
16 Aria: 'La Bellezza persuade coi suoi rai' 1:50
  Bellezza, Amore  
17 Trio: 'Ogn'alma d'ambedue gode esser serva' 1:14
  Amore, Cortesia, Accademico II  
   
  Part Two 21:55      
18 Allegro 1:28
19 Recitative: 'Con erudita lingua' 2:46
  Amore, Rigore  
20 Aria: 'Le donne più belle' 2:43
  Cortesia  
21 Duet: 'Cruda beltè ch'idolatrie sol brama' 2:15
  Accademico I, Accademico II  
22 Recitative: 'Con concetti poetici e bizzarri' 0:55
  Amore, Capriccio  
23 Aria: 'Nere luci il vostro sole' 2:31
  Capriccio  
24 Arioso: 'Di rai biancheggianti' 1:56
  Amore  
25 Aria: 'Corriero sincero' 0:48
  Bellezza  
26 Recitative: 'Benché ascritto non sia' 0:30
  Disinganno  
27 Aria: 'Si guardi' 2:09
  Disinganno  
28 Recitative: 'Come, come fu ammesso' 0:17
  Amore  
29 Aria: 'Dal libro d'Amor' 1:00
  Amore  
30 Recitative: 'Unito al Disinganno' 0:51
  Amore  
31 'Dotto Maestro' 1:47
  Madrigale a cinque voci  
 Rosita Frisani soprano - Bellezza (Beauty)
 Cristiana Presutti soprano - Cortesia (Courtesy)
 Anna Chierichetti soprano - Capriccio (Fancy)
 Gianluca Belfiori Doro alto - Amore (Love)
 Mario Cecchetti tenor - Rigore ( Discipline)
 Makato Sakurada tenor - Accademinco I (First Academician)
 Riccardo Ristori bass - Accademico II (Second Academician) & Disinganno (Disenchantment)
 

Chi resiste al Dio bendato

21:14  
  Serenata a 3 voci  
32 Sinfonia: Allegro 0:45
33 Sinfonia: Andante - Presto - Adagio - Presto 3:23
34 Aria: 'Chi resiste al Dio bendato' 1:36
  Soprano I  
35 Duet: 'IO, io de' cori amanti' 1:06
  Soprano II, Basso  
36 Aria: 'Fra lacci e catene' 2:17
  Soprano II, Basso  
37 Arioso: 'Deità coeca' 0:55
  Soprano I  
38 Aria: 'Chi del bendato arcier' 6:57
  Soprano I  
39 Duet: 'Nume sovran' 1:34
  Soprano II, Basso  
40 Aria: 'Chi vive con amor' 2:42
  Soprano I  
Both works receive their premiere recordings with this release.

Alessandro Stradella Consort and Estevan Velardi make their debut on Chandos with this exquisite recording.

Two jewels of the baroque that can now at last be enjoyed after their long and unjustified period of neglect

Practically all the Italian opera composers of the seventeenth century wrote prodigious numbers of cantatas. One of the leading and most versatile composers of the age, however, Alessandro Stradella left a significant mark on composition despite the fact that he was only forty-three when he died, in part due to his tumultuous and dramatic lifestyle!

The music of Stradella is often light-hearted and tuneful. A natural flow of affecting melodies, a constant freshness of invention and an impressive number of sophisticated compositional techniques constitute the principal merits of his cantatas, and now these two jewels of the baroque period can be enjoyed after their long and unjustified period of neglect.

The substantial cantata Amanti, olà, olà! was written in 1665 in Rome in response to a commission from Princess Marina Mancini Colonna. This is a large-scale, well-constructed composition in which various allegorical figures engage in learned discussions similar to those that were taking place in the most cultivated and refined circles of contemporary Roman society. The alternation of recitatives and arias is handled with assurance, while the division of the orchestra into concerto grosso and concertino is particularly impressive. The vocal lines for the singers are very comfortable, eschewing the unbridled virtuosity Stradella so often required of them. In Chi resiste al Dio bendato the meaning of the words is always respected although the use of decoration and virtuosic writing is greater than in Amanti; the interpretation of the text always takes precedence over embellishment.

Since 1990 the Alessandro Stradella Consort has dedicated most of its activity to the revival and re-evaluation of the works of Alessandro Stradella, and Chandos is delighted to add the group to the Chaconne label.

Conductor Estevan Velardi elicits superb dramatic playing from his orchestra.
Opera News

His [Stradella’s] scoring is inspired, with unlikely combinations of movements (sinfonia, a cappella madrigal, arioso recitative), fluid, unpredictable shifts between concrtino and concerto grosso, and tender melodies underpinned by a plangent continuo that conjoin to overpower poetry with music. The consort responds with verve, contrasting percussive attacato with soothing cantabile, while continuo realisations always enhance the dramatic movement.
BBC Music Magazine




*****
Beautiful
J Rebollo