Music Millennium

Music Millennium

Sedecia shares several characters with Verdi's breakthrough opera of 1841, Nabucco. The narrative in both cases is drawn from an Old Testament tale of over-reaching military ambition, corrupted power, valorous young generals and a noble queen. Scarlatti's oratorio of 1705-6 is no less absorbing in it's way for all that Scarlatti respects the conventions of his genre rather than (unlike Verdi) subverting and remaking them anew. With only one other recording ever made, this studio account was warmly welcomed when it was first released in 1999. It is reissued here as the fifth in a series of albums dedicated to the major vocal works of Alessandro Scarlatti, masterminded by Estévan Velardi, a scholar-conductor who has done much to advance our understanding of this prolific yet under-appreciated master of dramatic narrative at a time when the genre of opera was still in it's infancy.'Under Velardi, who uses his own edition, part II unfolds with a sense of palpable doom, from the broad opening sinfonia to the empty triumph of Nabucco's soldiers at the final curtain. As Anna, Alessandra Capici projects a womanly, compelling figure, whose broadly detailed grief becomes profoundly moving as she and Sedecia join in mourning the death of their son. In Ismaele's death scene, unfolded over a slowly moving ground bass, soprano Rosita Frisani displays admirable breath control and a sense of the realism that renders the da capo conventions of the aria strangely appropriate to the moment.' (Fanfare)
Sedecia shares several characters with Verdi's breakthrough opera of 1841, Nabucco. The narrative in both cases is drawn from an Old Testament tale of over-reaching military ambition, corrupted power, valorous young generals and a noble queen. Scarlatti's oratorio of 1705-6 is no less absorbing in it's way for all that Scarlatti respects the conventions of his genre rather than (unlike Verdi) subverting and remaking them anew. With only one other recording ever made, this studio account was warmly welcomed when it was first released in 1999. It is reissued here as the fifth in a series of albums dedicated to the major vocal works of Alessandro Scarlatti, masterminded by Estévan Velardi, a scholar-conductor who has done much to advance our understanding of this prolific yet under-appreciated master of dramatic narrative at a time when the genre of opera was still in it's infancy.'Under Velardi, who uses his own edition, part II unfolds with a sense of palpable doom, from the broad opening sinfonia to the empty triumph of Nabucco's soldiers at the final curtain. As Anna, Alessandra Capici projects a womanly, compelling figure, whose broadly detailed grief becomes profoundly moving as she and Sedecia join in mourning the death of their son. In Ismaele's death scene, unfolded over a slowly moving ground bass, soprano Rosita Frisani displays admirable breath control and a sense of the realism that renders the da capo conventions of the aria strangely appropriate to the moment.' (Fanfare)
5028421955377
Alessandro Stradella Consort - Sedecia Re Di Gerusalemme

Details

Format: CD
Label: BRLT
Rel. Date: 09/07/2018
UPC: 5028421955377

Sedecia Re Di Gerusalemme
Artist: Alessandro Stradella Consort
Format: CD
New: In Stock $18.99
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Formats and Editions

DISC: 1

1. Sedecia, Re Di Gerusalemme, Pt 1: I. Sinfonia. Spiritoso
2. Sedecia, Re Di Gerusalemme, Pt 1: II. Adagio
3. Sedecia, Re Di Gerusalemme, Pt 1: III. Allegro
4. Sedecia, Re Di Gerusalemme, Pt 1: IV. Recitativo. "Già Il Possente Monarca"
5. Sedecia, Re Di Gerusalemme, Pt 1: V. Aria. "Le Corone Ad Un Regnante"
6. Sedecia, Re Di Gerusalemme, Pt 1: VI. Recitativo. "E Qual Strano Timore"
7. Sedecia, Re Di Gerusalemme, Pt 1: VII. Aria. "Si Che Il Barbaro Tiranno"
8. Sedecia, Re Di Gerusalemme, Pt 1: VIII. Recitativo. "Tanto Sperar Degg'io"
9. Sedecia, Re Di Gerusalemme, Pt 1: IX. Aria. "Del Mio Cor"
10. Sedecia, Re Di Gerusalemme, Pt 1: X. Recitativo. "Valoroso Consorte"
11. Sedecia, Re Di Gerusalemme, Pt 1: XI. Aria. "Se Il Generoso Cor"
12. Sedecia, Re Di Gerusalemme, Pt 1: XII. Recitativo. "Nei Cimenti"
13. Sedecia, Re Di Gerusalemme, Pt 1: XIII. Aria. "L'empia Sorte"
14. Sedecia, Re Di Gerusalemme, Pt 1: XIV. Sinfonia. Allegro
15. Sedecia, Re Di Gerusalemme, Pt 1: XV. Recitativo. "Del Signor D'israele"
16. Sedecia, Re Di Gerusalemme, Pt 1: XVI. Aria. "Contro Te, Di Sdegno Armato"
17. Sedecia, Re Di Gerusalemme, Pt 1: XVII. Recitativo. "Sire, Del Fier Nemico"
18. Sedecia, Re Di Gerusalemme, Pt 1: XVIII. Aria. "Il Nitrito De' Fieri Cavalli"
19. Sedecia, Re Di Gerusalemme, Pt 1: XIX. Recitativo. "Figlio, Oh Quanto M'aggrada"
20. Sedecia, Re Di Gerusalemme, Pt 1: XX. Aria. "Vado"
21. Sedecia, Re Di Gerusalemme, Pt 1: XXI. Recitativo. "Arrida, O Chiaro Duce"
22. Sedecia, Re Di Gerusalemme, Pt 1: XXII. Aria. "Va', Ma Torna Vincitore"
23. Sedecia, Re Di Gerusalemme, Pt 1: XXIII. Recitativo. "Padre, Deh Mi Concedi"
24. Sedecia, Re Di Gerusalemme, Pt 1: XXIV. Aria. "Per Tua Difesa, O Padre"
25. Sedecia, Re Di Gerusalemme, Pt 1: XXV. Recitativo. "Su, Su Miei Fidi"
26. Sedecia, Re Di Gerusalemme, Pt 1: XXVI. Aria. "In Mezzo Ai Rai Del Dì"
27. Sedecia, Re Di Gerusalemme, Pt 1: XXVII. Recitativo. "Mio Diletto Ismaele"
28. Sedecia, Re Di Gerusalemme, Pt 1: XXVIII. Duetto. "Caro Figlio/Madre Cara"
29. Sedecia, Re Di Gerusalemme, Pt 1: XXIX. Recitativo. "Vedi, Ah Vedi"
30. Sedecia, Re Di Gerusalemme, Pt 1: XXX. Aria. "Troppo Tenero Ancor Sono"
31. Sedecia, Re Di Gerusalemme, Pt 1: XXXI. Recitativo. "Ahimé Lassa, Che Veggio?"
32. Sedecia, Re Di Gerusalemme, Pt 1: XXXII. Aria. "Fermati, O Barbaro"
33. Sedecia, Re Di Gerusalemme, Pt 2: I. Aria. "Denso Stuol De' Miei Pensieri"
34. Sedecia, Re Di Gerusalemme, Pt 2: II. Recitativo. "Ma Qual Nuovo Fragore"
35. Sedecia, Re Di Gerusalemme, Pt 2: III. Aria. "Doppio Affetto Nel Mio Petto"
36. Sedecia, Re Di Gerusalemme, Pt 2: IV. Recitativo. "Figlio, Consorte"
37. Sedecia, Re Di Gerusalemme, Pt 2: V. Aria. "Copri O Sol L'aurato Manto"
38. Sedecia, Re Di Gerusalemme, Pt 2: VI. Recitativo. "Or Ti Sovvenga O Padre"
39. Sedecia, Re Di Gerusalemme, Pt 2: VII. Aria. "E Che Dirai"
40. Sedecia, Re Di Gerusalemme, Pt 2: VIII. Recitativo. "Tolga, Benigno Fato"
41. Sedecia, Re Di Gerusalemme, Pt 2: IX. Aria. "Nelle Tue Cure Estreme"
42. Sedecia, Re Di Gerusalemme, Pt 2: X. Recitativo. "Ah, Troppo È Il Ciel"
43. Sedecia, Re Di Gerusalemme, Pt 2: XI. Aria. "Per Punire"
44. Sedecia, Re Di Gerusalemme, Pt 2: XII. Recitativo. "Ma Nadabbe Dov'è?"
45. Sedecia, Re Di Gerusalemme, Pt 2: XIII. Aria. "Come, La Tua Costanza"
46. Sedecia, Re Di Gerusalemme, Pt 2: XIV. Recitativo. "Ferma, O Infelice"
47. Sedecia, Re Di Gerusalemme, Pt 2: XV. Aria. "Va' D'egitto"
48. Sedecia, Re Di Gerusalemme, Pt 2: XVI. Recitativo. "Anzi, Perché Non Soffra"
49. Sedecia, Re Di Gerusalemme, Pt 2: XVII. Aria. "Fermati O Barbaro"
50. Sedecia, Re Di Gerusalemme, Pt 2: XVIII. Recitativo. "O Di Tenera Prole"
51. Sedecia, Re Di Gerusalemme, Pt 2: XIX. Aria. "Caldo Sangue"
52. Sedecia, Re Di Gerusalemme, Pt 2: XX. Recitativo. "Oh Dio! Sento Che Morte"
53. Sedecia, Re Di Gerusalemme, Pt 2: XXI. Duetto. "Col Tuo Velo I Lumi Miei"
54. Sedecia, Re Di Gerusalemme, Pt 2: XXII. Recitativo. "Oh Del Morto Mio Figlio"
55. Sedecia, Re Di Gerusalemme, Pt 2: XXIII. Aria. "Come Turbine Rapace"
56. Sedecia, Re Di Gerusalemme, Pt 2: XXIV. Recitativo. "Sedecia, Per Pietà Di Tue"
57. Sedecia, Re Di Gerusalemme, Pt 2: XXV. Aria. "Gite Pur"
58. Sedecia, Re Di Gerusalemme, Pt 2: XXVI. Recitativo. "Vieni, O Infelice Re"
59. Sedecia, Re Di Gerusalemme, Pt 2: XXVII. Aria. "Lo V'adoro O Mie Ritorte"
60. Sedecia, Re Di Gerusalemme, Pt 2: XXVIII. Recitativo/Arioso. "Ma Lasso! Io Ben Comprendo"
61. Sedecia, Re Di Gerusalemme, Pt 2: XXIX. Recitativo. "Orsù Fidi Campioni"
62. Sedecia, Re Di Gerusalemme, Pt 2: XXX. Coro. "Vieni Incontro Alla Vittoria"

More Info:

Sedecia shares several characters with Verdi's breakthrough opera of 1841, Nabucco. The narrative in both cases is drawn from an Old Testament tale of over-reaching military ambition, corrupted power, valorous young generals and a noble queen. Scarlatti's oratorio of 1705-6 is no less absorbing in it's way for all that Scarlatti respects the conventions of his genre rather than (unlike Verdi) subverting and remaking them anew. With only one other recording ever made, this studio account was warmly welcomed when it was first released in 1999. It is reissued here as the fifth in a series of albums dedicated to the major vocal works of Alessandro Scarlatti, masterminded by Estévan Velardi, a scholar-conductor who has done much to advance our understanding of this prolific yet under-appreciated master of dramatic narrative at a time when the genre of opera was still in it's infancy.'Under Velardi, who uses his own edition, part II unfolds with a sense of palpable doom, from the broad opening sinfonia to the empty triumph of Nabucco's soldiers at the final curtain. As Anna, Alessandra Capici projects a womanly, compelling figure, whose broadly detailed grief becomes profoundly moving as she and Sedecia join in mourning the death of their son. In Ismaele's death scene, unfolded over a slowly moving ground bass, soprano Rosita Frisani displays admirable breath control and a sense of the realism that renders the da capo conventions of the aria strangely appropriate to the moment.' (Fanfare)
        
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