Background Image Background Image Background Image
background image

EN 1087
StarStarStarStarStar Rating
Log in to be the first to review this disc
Background Image Background Image Background Image
background image
Aeon Logo
EN 1087
Marcello: Cassandra

Marcello: Cassandra

The Classical Shop
release date: August 2014


Kai Wessel


David Blunden


Record Label



Total Time - 67:09
background image
mp3question marklosslessoff  
*when you purchase a lossless format, we include the MP3 free of charge
Please Note: On Mp3 format an unavoidable click may be heard on segue track breaks, to avoid this issue please select lossless

Marcello: Cassandra

Select Complete Single Disc for



Cassandra, Cantata per alto

1 Odi, o Troja, Cassandra! 2:19
2 Sotto il piè de' soldati, e de' cavalli 3:11
3 Nell'aureo Talamo 4:18
4 Mà il furibondo Greco 3:48
5 Ahi spettacolo mesto 3:13
6 e suonan le contrade ampie di Troja 2:47
7 Altri pianti et lamenti 2:40
8 O come incalza colui che ferì Marte! 3:30
9 O misero! non sai 3:26
10 Ove mi fugo mai, dove mi celo? 4:15
11 Alla corrente del Xanto sbalza 2:01
12 O Priamo, egli è tuo sangue! 3:42
13 Vieni ò sposa 4:50
14 Ei cade sulla polve 2:32
15 Va tutta in pianto, ed in tumulto Troja 2:42
16 Chi nell'Abisso mi sotterra? 3:28
 Kai Wessel Performer
 David Blunden Performer



Concerto in C Minor, BWV 981 After Benedetto Marcello

17 I. Adagio 2:36
18 II. Vivace 1:58
19 III. Adagio 4:06
20 IV. Prestissimo 5:47
 David Blunden Performer

The Venetian poet Antonio Conti received from Marcello the commission for a dramatic text that allows a quick succession of events, rather than the usual succession of recitative and arias.

Cassandra plunges us into Homer’s Trojan War, with its namesake prophetess who has the gift of predicting the future, but whom no one believes.

The many [25] extant copies of this cantata, here given its world première recording, testify to the impact it had in its own time. Charles Burney reports a performance in Venice in 1770 at which the cantata was impressively interpreted by a bass, but almost all the manuscripts are headed by ‘Cantata per Alto’. The range of the vocal part stretches more than three octaves, which explains the difficulty in finding an interpreter able to sing it: it may be that Cassandra was sung by a bass performing as an ‘altus’.

Following the practice of the time, Kaï Wessel and David Blunden have taken the liberty of improvising interludes at a few points where the action shifts between vision and oracle – in concert these also provide brief moments of rest for the voice.

Ah what a sad sight, That reduces me to tears Over your ruins…” La Cassandre, Antonio Conti Kai


No Internal Reviews Found.

No User Reviews Found.