» » » Giovanni Battista Pergolesi - Adriano in Siria - Capella Cracoviensis, Jan Tomasz Adamus (2016) High-Fidelity FLAC Stereo 24bit/96kHz
Giovanni Battista Pergolesi - Adriano in Siria - Capella Cracoviensis, Jan Tomasz Adamus (2016) High-Fidelity FLAC Stereo 24bit/96kHz
Giovanni Battista Pergolesi - Adriano in Siria - Capella Cracoviensis, Jan Tomasz Adamus (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Giovanni Battista Pergolesi (1710-1736)
Artist: Franco Fagioli, Romina Basso, Yuriy Mynenko, Dilyara Idrisova, Juan Sancho, Çiğdem Soyarslan, Capella Cracoviensis, Jan Tomasz Adamus
Title: Pergolesi - Adriano in Siria
Genre: Classical
Label: © Decca Music Group Limited
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 02:57:25
Recorded: 19–26 August 2015, Radio Krakow, Poland

Pergolesi’s Adriano in Siria is brought to vibrant life in this new recording with a top-flight cast, led by the enthralling Franco Fagioli. New love, power, revenge, disguise, mistaken identity and passionate devotion — the full spectrum of Baroque opera seria is here in this brilliant, vivid setting of a powerful and moving story. Accompanied by Capella Cracoviensis under the baton of Jan Tomasz Adamus, Adriano in Siria is an opera that will appeal to all fans of Baroque music's unsung heroes .
Alongside Mozart and Schubert, Giovanni Battista Pergolesi has long been a symbol in music history of the tragic gure of genius cut off in its prime. Born in 1710 in the southern Italian city of Jesi, his composing career lasted less than a decade: he was dead from tuberculosis at 26. Though well-known during his lifetime as a composer of serious opera, since then his fame has largely rested on just two works: the wildly popular comic opera La serva padrona (1733) and the Stabat mater, nished shortly before his premature demise. Of that event Charles Burney remarked; “the instant that his death was known, all Italy manifested an eager desire to hear and possess his productions ...” - this was not only true of Italy, and led to a considerable, and still persisting industry of attributing to Pergolesi works by other, less famous composers.
Adriano in Siria was the third of his four opere serie, premiered in the Teatro San Bartolomeo in Naples on 25 October 1734. Pergolesi spent almost all of his career in this capital of a kingdom that had for two decades been ruled by the Austrian Habsburgs through a viceroy. However, the Spanish Bourbons also claimed this territory and early in 1734, their army under Carlos, eldest son of the King Felipe V, was on the advance. His forces were victorious and the young prince led a triumphant entry into the city on 10 May. The score is dedicated to the new monarch, but was written expressly to mark the 42nd birthday of his redoubtable and music-loving mother, Elisabetta Farnese. Interestingly the opening scene of Pergolesi’s opera also depicts a victorious army’s entry into a city – one might well wonder what the 18-year-old King Charles made of the emotionally vacillating character of the victorious Emperor Hadrian as then portrayed in Pergolesi’s opera. It was perhaps fortunate for the composer that the young monarch was more fond of hunting than of music, and was well-known for falling asleep during performances. Nonetheless, in homage to the mother he adored and to the opera- mad Naples public (it would after all have been politic to impress his new subjects), thepremierewasalavishone,witha necast headed by the great mezzo-soprano castrato Gaetano Majorano, called Caffarelli, playing the role of Farnaspe.
The libretto as set by Pergolesi makes many changes to Metastasio’s original text, largely in response to the demands of his castrato star. Pergolesi’s music for him exploits all facets of his remarkable technique, ranging from long orid melismas with rapidly repeated high notes to tricky cantabile chromaticism. Other well-known singers in the cast included Maria Giustina Turcotti as Emirena, a soprano notorious in her latter days for that common problem of divas, obesity (one colleague described her as “a monster of esh”). Sabina, the Emperor Hadrian’s long-suffering betrothed, was sung by the later very famous soprano Catterina Fumagalli; though ostensibly a subsidiary role for a seconda donna, her character is remarkably well-drawn. This is indeed true of all the roles in the work, not least since, perhaps in response to the considerable changes in the text made to accommodate Caffarelli, Pergolesi was careful to balance the number of arias between all the characters. Nor was he afraid of bending the strict rules of opera seria for dramatic effect: not always does a character exit after singing an aria, and some of these begin without the customary introductory ritornello. Tenor roles, like that of Osroa, were generally regarded as inferior, but here, originally taken by the well-known singer Francesco Tolve, this is hardly the case. Even the lesser role of the tribune Aquilio, another cross-dressing soprano, has music apt to his scheming character.

Giovanni Battista Pergolesi (1710-1736)
Adriano in Siria
1 Sinfonia 04:06
Act 1
2 Chiede il parto Farnaspe di presentarsi a te 05:39
3 Dal labbro che taccende 04:08
4 Comprendesti, o Farnaspe, dAugusto i detti? 01:09
5 Dalla man del nemico il gran pegno si tolga 00:35
6 Sprezza il furor del vento 03:07
7 Ah, se con qualche inganno non prevengo Emirena 03:01
8 Principe, quelle sono le sembianze che adori? 03:28
9 Sul mio cor so ben qual sia Farnaspe 07:36
10 Dove, Emirena? 01:07
11 Signor Che fu? 00:30
12 Sposo, Augusto, signor, questo e il momento 00:56
13 Aquilio, io non lintendo 01:12
14 Prigioniera abbandonata 05:51
15 Tentiam la nostra sorte 00:41
16 Vuoi punir lingrato amante? 03:37
17 Io piango! 00:48
18 Chi soffre, senza pianto 06:56
19 Feroci Parti, al nostro ardir felice arrise il ciel 01:41
20 E pure, ad onta del mio furor 01:52
21 A un semplice istante 03:02
22 E nessuno sa dirmi se sia salvo il mio sposo! 01:38
23 Senti come mi lascia 00:47
24 Farnaspe! - Principessa! 02:30
25 Sola mi lasci piangere 06:25
26 Oh cari sdegni, oh amabili trasporti 00:28
27 Lieto cosi talvolta 12:31
Act 2
28 Veramente tu sei, piu di quel che credei, sollecita ed attenta 02:07
29 Chi sa! quando lontana Emirena sara 04:38
30 Ah, ingrato, minganni 03:24
31 Udisti, Aquilio? 00:36
32 Tolleranza, o mio cor 00:26
33 Saggio guerriero antico 04:13
34 Qui Sabina non veggo 01:33
35 Splenda per voi sereno 05:52
36 Ed e ver che sei mia? 01:09
37 Fra lombre adesso 02:01
38 Fermati, traditor! 04:08
39 Tutti nemici e rei 01:36
40 Padre 01:22
41 Quellamplesso e quel perdono 04:54
42 Almen tutto il mio sangue a conservar bastasse 00:36
43 Leon piagato a morte 04:39
44 E non ti struggi in pianto 01:05
45 Torbido in volto e nero 07:05
Act 3
46 Come! chio parta? 01:32
47 Digli che un infedele 03:43
48 Io la trama dispongo 00:34
49 Contento forse vivere del mio martir potrei 04:24
50 Aquilio, che ottenesti? 01:29
51 Che dir puo il mondo? 03:51
52 Bellissima Emirena 02:07
53 Fra poco assiso in trono Cesare parlera 03:06
54 Figlia, se e ver che mami 01:02
55 Ti perdi e confondi 03:15
56 Misera! a qual consiglio appigliarmi dovro? 03:23
57 Lestremo pegno almeno ricevi 07:31
58 Sabina, ascolta! 01:22
59 Ah, Cesare, pieta! 03:29
60 Soda, Augusto 00:20

Yuriy Mynenko, Counter-Tenor
Romina Basso, Contralto
Franco Fagioli, Counter-Tenor
Dilyara Idrisova, Soprano
Juan Sancho, Tenor
Cigdem Soyarslan, Soprano
Capella Cracoviensis, Orchestra
Jan Tomasz Adamus, Conductor

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