Massimiliano Caldi - Cleartone

ROLLA, Mario Carbotta, Orchestra da Camera Milano Classica, Massimiliano CaldiConcertos And Symphonies

Marek Koszur — Sat, 13 Apr 2019 07:00:53 +0000

Trait d’union between the declining Italian instrumental tradition and the rising Austro-German one, Alessandro Rolla is a unique figure in the Italian musical panorama astride the 18th and 19th centuries, not only for the active role he played as conductor at Milan’s La Scala and teacher at that city’s conservatory but also for his vast and diversified production. Open to stylistic expressions and forms developed outside Italy, a pioneer performer of Mozart and Beethoven, and a genuine exponent of Neoclassical taste, Rolla has left us a conspicuous amount of works in which quite an original creative and stylistic parabola can be observed. The present CD, featuring some world première recordings, contains very interesting compositions, such as the Symphony in D Major – remarkable for the grace and variety of its melodic inventiveness -, the Symphony in B flat Major – leaner and more formal – and some Concertos: the one for basset horn and orchestra is exquisitely classical in the alternation between lyrical and virtuosic passages; while the one for flute and orchestra requires the soloist to master a series of dexterities set to underline his technical and expressive talents.

Conductor
Massimiliano Caldi

Orchestra
Milano Classica Chamber Orchestra

Soloist
Mario Carbotta, flute
Denis Zanchetta, basset horn

Artykuł ROLLA, Mario Carbotta, Orchestra da Camera Milano Classica, Massimiliano Caldi
Concertos And Symphonies pochodzi z serwisu Cleartone.

CAGNONI, Filippo Morace, Angelica Girardi, Orchestra Internationale d’Italia, Massimiliano CaldiDon Bucefalo

Marek Koszur — Fri, 12 Apr 2019 21:34:28 +0000

Filippo Morace - Cagnoni: Don Bucefalo

01. Act I - Or che il sole usci col giorno (Chorus) (7:34)
02. Act I - Ah! Colui che mi dice (Rosa) (8:29)
03. Act I - Oh! Come questo core (Conte) (4:49)
04. Act I - Ma si ragazze mie (Don Bucefalo) (2:39)
05. Act I - Io diro (Agata) (7:14)
06. Act I - Ma dite: voi con Rosa (Carlino) (2:23)
07. Act I - Fra gli scogli e la procella (Rosa) (8:07)
08. Act II - Qui congregati e inosservati (Chorus) (4:24)
09. Act II - Ingrata fantasia! Tu m'abbandoni! (Don Bucefalo) (9:59)
10. Act II - Chi mi ha tolto (Rosa) (3:03)
11. Act II - E permesso? (Don Marco) (2:08)
12. Act II - Ai riguardi io do un addio (Carlino) (6:13)
13. Act II - Ah traditor! (Carlino, Don Bucefalo) (3:07)

CD 2
1 Act III: No, non serve altro (Don Marco) 01.05
2 Act III: Ma vedi se davvero (Agata) 05.14
3 Act III: Non fuggirmi, mio ben (Conte, Rosa) 08.47
4 Act III: Servo di lor, signori professori (Don Bucefalo) 02.06
5 Act III: Trai, trai, trai (Don Bucefalo) 04.29
6 Act III: Grazie, grazie, miei cari (Don Bucefalo) 01.04
7 Act III: O colli nativi! (Chorus) 02.35
8 Act III: Signor vincemmo! (Don Bucefalo, Don Marco) 03.34
9 Act III: Son rimasta (Rosa, Conte, Don Marco, Don Bucefalo) 01.36
10 Act III: Dunque ingrata! (Carlino, Rosa) 02.03
11 Act III: D'ineffabile contento (Rosa) 04.27 {{soundFile=http://www.ccd.pl/sample/CDS634/02.mp3,http://www.ccd.pl/sample/CDS634/05.mp3,http://www.ccd.pl/sample/CDS634/08.mp3,http://www.ccd.pl/sample/CDS634/10.mp3,http://www.ccd.pl/sample/CDS634/12.mp3&titles=02. Act I - Ah! Colui che mi dice (Rosa) (8:29),05. Act I - Io diro (Agata) (7:14),08. Act II - Qui congregati e inosservati (Chorus) (4:24),10. Act II - Chi mi ha tolto (Rosa) (3:03),12. Act II - Ai riguardi io do un addio (Carlino) (6:13)}}

Artykuł CAGNONI, Filippo Morace, Angelica Girardi, Orchestra Internationale d’Italia, Massimiliano Caldi
Don Bucefalo pochodzi z serwisu Cleartone.

CAGNONI, Constantino Finucci, Serena Daolio, Orchestra Internationale d’Italia, Massimiliano CaldiRe Lear

Marek Koszur — Fri, 12 Apr 2019 21:20:37 +0000

King Lear is a tragedy by William Shakespeare, believed to have been written between 1603 and 1606. It is considered one of his greatest works.
The play is based on the legend of Leir of Britain, a mythological pre-Roman Celtic king.
Re Lear à l’italienne by Sergio Segalini (Artistic director of the Martina Franca Festival)
After the unexpected, triumphant success achieved in 2008 with Don Bucefalo it was time to unveil another chapter in the artistic career of the highly unknown Antonio Cagnoni, ill treated in all Music Histories, reviled in dictionaries, branded as „minor“ and thus forgettable!
In the Fifties people did not want to rediscover Verdi’s Macbeth or Donizetti’s historical operas, and when it was born the prestigious Rossini festival in Pesaro seemed destined to have a short life. The world of music is „ainsi fait“… whatever is new stinks, be it a revived opera or contemporary music.
Don Bucefalo is work of the young Cagnoni, quite the opposite of Re Lear, written in his full maturity; the composer was unable to have it staged in a single theatre and died leaving his beloved child in a drawer.
Is this a sign of mediocre creativity? Certainly not, if we think of the great Verdi of maturity, adulated from Paris to St Petersburg, from London to Milan, he could not convince a single theatre to stage his Lear.
The Martina Franca Festival provided a response to these rejections: in Shakespeare’s play the taste of the time saw only a question of power, no love story between a soprano and a tenor. A bit like Macbeth in some ways. But in Macbeth there was the fantastic element of the witches, the scene of the apparitions, an oppressed people and a wicked couple (to cite a famous Donizetti cabaletta)! In brief, all the ingredients of „melodrama“ whose aesthetic rules were to reign throughout the nineteenth century. Re Lear was different and just frightening; but not today, for our culture has opened new doors for us and brought us to new shores. Yet we must listen to this final contribution of Cagnoni’s not as if it were Un Ballo in Maschera or Il Trovatore, though it is true that the music brings us back to mid-nineteenth century aesthetics, seeming at times to be in contradiction with the demands of the libretto, too modern for its day. This co-habitation, however, is really very intriguing.

For some, perhaps, the real limit of this opera is the fact that it treats Shakespeare’s original great drama in a somewhat summarising fashion.

Cinema took it on in a version directed by the brilliant Grigori Kozintsev using Pasternak’s translation in 1949, and Giorgio Strehler’s theatre with the unforgettable Tino Carraro. In opera perhaps the Berlioz of Les Troyens could have managed it – not to mention Wagner, who would have made another Wotan of Lear, betrayed by his daughters.
We thank Cagnoni for his courage, for his non-conformity, for his desire to explore new worlds, going against a public and press always capable of shouting just „Verdi, fortissimamente Verdi“.

For once at least we do not wish to make comparisons and treat musicians as though we were talking of Raffaello or Il Perugino, of Flaubert or Balzac, painters, writers who shine with their own brilliance. Like Antonio Cagnoni. The only comparison to be made is with the Don Bucefalo of his youth. There will be no shortage of surprises.

Cast
Re Lear Constantino Finucci
Cordelia Serena Daolio
Regana Eufemia Tufano
Il Matto Rasha Talaat
Edgardo Danilo Formaggia
Conte di Gloster Vladimer Mebonia
Gonerilla Maria Leone
Duke of Cornwall Gianni Coletta
The Earl of Kent Domenico Colaianni
Edmondo Cristian Camilo Navarro Diaz

Conductor
Massimiliano Caldi

Orchestra
Italian International Orchestra

Chorus
Slovak Chamber Choir

Chorus master
Pavol Procházka

Artykuł CAGNONI, Constantino Finucci, Serena Daolio, Orchestra Internationale d’Italia, Massimiliano Caldi
Re Lear pochodzi z serwisu Cleartone.