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GS 1509
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GS 1509
LULLY, J.-B.: Bourgeois gentilhomme (Le) / La raillerie / Amour malade (33s and Recits Italiens) (Bonizzoni)

LULLY, J.-B.: Bourgeois gentilhomme (Le) / La raillerie / Amour malade (33s and Recits Italiens) (Bonizzoni)

The Classical Shop
release date: December 2012

Originally recorded in 2009

Artists:

Bonizzoni, Fabio


Fabio Bonizzoni

Conductor

Emanuela Galli

Soloist

Fabio Bonizzoni

Soloist

Yetzabel Arias Fernandez

Soloist

Stefanie True

Soloist

Risonanza, La



Record Label
Glossa

Genre:

Chamber


Classical

Total Time - 71:57
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LULLY, J.-B.: Bourgeois gentilhomme (Le) / La raillerie / Amour malade (33s and Recits Italiens) (Bonizzoni)

     
Select Complete Single Disc for
     
 

JEAN-BAPTISTE LULLY

1 

La raillerie

12:54
 Fabio Bonizzoni Soloist
     
 

BERNARD LE BOVIER DE FONTENELLE

2 

Psyche

5:06
 Fabio Bonizzoni Soloist
     
 

JEAN-BAPTISTE LULLY

3 

Alcidiane

3:22
 Fabio Bonizzoni Conductor
     
 

Le bourgeois gentilhomme

 
4 Quatrieme entree - Air: Di rigori armata il seno 6:21
 Emanuela Galli Soloist
     
5 Entree des Scaramouches - Chaconne 4:09
 Fabio Bonizzoni Soloist
     
6 Duo: Bel tempo che vola - Rejouissance 2:41
 Yetzabel Arias Fernandez Soloist
     
7 Chaconne 1:34
 Emanuela Galli Soloist
     
 

Amour malade

 
8 Ritournelle - Air: Que les jaloux sont importuns - Ritournelle 3:21
 Stefanie True Soloist
     
9 Air: E che sarebbe amor senza cochette? 2:42
 Emanuela Galli Soloist
     
10 

Alcidiane

5:26
 Fabio Bonizzoni Soloist
     
 

ISAAC DE BENSERADE

11 

Flore

6:38
 Stefanie True Soloist
     
 

JEAN-BAPTISTE LULLY

12 

Alcidiane

11:17
 Yetzabel Arias Fernandez Soloist
     
13 

Les amours deguises

6:26
 Fabio Bonizzoni Soloist
 Bonizzoni, Fabio

Glossa GS 1509

Lully: Ballets & récits italiens – La Risonanza, Fabio Bonizzoni

Little introduction on record is needed for the dramatic output of Jean-Baptiste Lully: his style is quintessentially associated with French music of the seventeenth century. But during his early years in Paris, long before he became the all-conquering composer of tragédies en musique at the court of Louis XIV, the native Florentine Giovanni Battista Lulli, encouraged by Cardinal Mazarin, also born in Italy, helped to spread the music from his native country into the French court. The early compositions of Lully – forging his unmistakable style – focused on ballets de cour. For these his instrumental entrées were combined with vocal sections in Italian such as arias and early examples of his treatment of recitative. Not just transalpine composers were welcomed in Paris, but singers, too.

Fabio Bonizzoni and La Risonanza draw us into the Italianate world of Paris of the 1650s and 1660s before leaving us at the moment when Lully began his collaboration with Molière, in Le Bourgeois gentilhomme, and made his entrance in the world of the tragédie en musique.



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