Simone Kermes Collection [12CDs] (2003-2019)

Known for her idiosyncratic performances of baroque repertoire and eccentric personal style, the German coloratura soprano Simone Kermes trained in her native Leipzig, with early successes including the International Johann Sebastian Bach Competition. Bach has not, however, figured prominently in her career since then – Kermes gravitated towards Vivaldi, Handel and the Neapolitan composers who wrote for the great castrati, such as Riccardo Broschi, Alessandro Scarlatti and Porpora. (She has recorded several solo albums of such repertoire for Sony, including Dramma, and Colori d’Amore – reviewing the latter, BBC Music Magazine described her as ‘a remarkable artist, charming, fascinating and boldly risk-taking by turns’).
Kermes sings Fiordiligi and the Countess on Russian-Greek conductor Teodor Currentzis’s much-praised series of the Mozart Da Ponte operas on Sony, and also sings the soprano solos on his recording of the Mozart Requiem; her operatic repertoire also includes The Queen of the Night, Konstanze (Die Entführung aus dem Serail), Gilda (Rigoletto), Rosalinde (Die Fledermaus), and Anne Trulove in The Rake’s Progess.

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This is a concept disc. Don’t be misled by the cover art which implies that Handel wrote an opera called La Maga Abbandonata; he didn’t. This is the brain-child of the music director Alan Curtis and the writer Donna Leon who reads an extract from her novel Acqua alta on the final track of the disc.
The concept has some interest but in essence this is a recital disc and a very good one indeed. Both singers are excellent, the soprano particularly so. These extracts are described by Donna Leon in her interesting accompanying essay as "arias of rage and sorrow" in which the sorceresses who people so many of Handel’s operas do just that, rage and sorrow; note the number of crudels and crudos in the track listing! The music is stunning. I don’t think I had realised just how good Handel’s operatic music could be. If one tries to attempt entire operas one gets bogged down in the interminable plots and the vast length of them. Productions on video seem to be overwhelmed by odd directorial peccadillos so perhaps this sort of disc, consisting of short extracts, is the best way into the repertoire. Ah! Crudel from Rinaldo is a splendid example of Handel at his most intense. Ah! Mio cor from Alcina epitomises the particular character of Simone Kermes’ voice. She is somewhat of the school of Cecilia Bartoli in that she "emotes" quite hard and has an appealing breathiness of voice as well as secure pitching. Melissa’s aria Desterò dall’empia Dite from Amadigi is a stunning display of singing as well as trumpet and oboe virtuosity from soloists of the very fine original instrument group, new to me, Il Complesso Barocco.
The recording is magnificent. The lovely spacious acoustic of Bayreuth’s "other" opera house, the Markgräfliches Opernhaus, is beautifully captured. This building is one of the finest of its kind in Europe and the auditorium sounds on this recording as superb as it sounds (and looks) in reality. The extra track in which Donna Leon reads aloud from her novel is also a striking demonstration of the recording art, apart from being interesting in content. –Dave Billinge

Performe:
Simone Kermes, soprano
Maite Beaumont, contralto
Il Complesso Barocco
Alan Curtis, conductor

Track List:
Rinaldo, HWV 7
01. Duetto. Fermati - No, crudel
02. Recitativo accompagnato. Dunque i lacci
03. Aria. Ah! crudel
Alcina, HWV 34
04. Sinfonia
05. Aria. Ah! mio cor
06. Aria. Sta nell'Ircana
07. Aria. Verdi prati
08. Recitativo accompagnato. Ah! Ruggiero crudel
09. Aria. Ombre pallide
Amadigi di Gaula, HWV 11
10. Sinfonia
11. Recitativo. D'un sventurato amante
12. Aria. Pena tiranna
13. Recitativo. Mi dride l'amante
14. Aria. Desterò dall'ampia Dite
15. Recitativo accompagnato. Addio, crudo Amadigi
16. Arioso. Io già sento
Work(s)
17. Donna Leon reads from Acqua alta


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This knockout CD of Vivaldi motets is a thrilling ride. They are scored for soprano and strings and show the wonderful variety of effects Vivaldi had at his disposal (faster, more dramatic arias use the metaphor of a ship in storm-tossed seas, searching for calm winds and safety): in other words, the same stuff he uses in his operas. But here, because these motets are religious in nature, it is the soul in flux that is wishing for God, or a saint, to guide it. Vivaldi will use the lower strings to give the feeling of menacing weather while the singer navigates through outlandishly difficult coloratura (fast runs, octave leaps, high stacatto effects); conversely, each motet also contains a slow, introspective aria which requires a long, soft vocal line. Conductor Andrea Marcon leads the superb Venice Baroque Orchestra in energetic performances, with sharp attacks and dramatic tempi choices. And the remarkable soprano Simone Kermes, with her diamond-brilliant tone and technical virtuosity, makes each of these pieces a little opera, filled with drama, pathos and simply gorgeous singing, whether high, low, loud, or soft. This is an exciting, greatly entertaining disc. –Robert Levine

Performe:
Simone Kermes, soprano
Venice Baroque Orchestra
Andrea Marcon, conductor

Track List:
01-04. In furore iustissimae irae, RV 626
05-08. Nulla in mundo pax sincera, RV 630
09-12. In turbato mare irato, RV 627
13-16. Sum in medio tempestatum, RV 632


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Amor profano is the follow-up project to the spectacular album Amor sacro that the soprano Simone Kermes recorded with Andrea Marcon and his Venice Baroque Orchestra. Amor sacro received rave critical reviews, with The San Francisco Chronicle hailing, "soprano Simone Kermes leads the way in this choice performance of four sacred motets by Vivaldi…another exemplary Vivaldi excavation" and the Star Ledger proclaiming, "Kermes brings Vivaldi's heart-easing lyricism alive with far richer expressivity…Kermes looks to be a real vocal star." Unlike Amor sacro, which consisted of sacred, non-liturgical repertoire that was performed during Mass or Vespers, Amor profano presents a worldly repertoire with a selection of Vivaldi's most dramatic and easily accessible "Canti d'amore e di Guerra." These arias from Vivaldi's lesser-known or virtually unknown operas have been especially chosen for the charismatic, dazzling voice of Simone Kermes and the lively playing of the VBO under Andrea Marcon. The album includes a number of world-premiere recordings and thus contributes to the continuing discovery of the composer and the "Vivaldi boom" of our times; but first and foremost, the recording is a sheer joy. This music has rhythm, beat and high energy, which is enhanced by the mastery of Simone Kermes and the Venice Baroque Orchestra, whose music-making leaves one breathless.

Performe:
Simone Kermes, soprano
Venice Baroque Orchestra
Andrea Marcon, conductor

Track List:
01. L’olimpiade: Siam navi All’onde algenti
02. La fede tradita e vendicata: Sin nel placido soggiorno
03. Orlando furioso: Ah, fuggi rapido
04. Tito Manlio: Non m’affligge il tormento di morte
05. Semiramide: Quegl’occhi luminosi
06. Il Tigrane: Squarciami pure il seno
07. Catone in Utice: Se in campo armato
08. Il Tamerlano: Sinfonia: I. Allegro
09. Il Tamerlano: Sinfonia: II. Andante molto
10. Il Tamerlano: Sinfonia: III. Allegro
11. Griselda: Agitata da due venti
12. Tito Manlio: Dopo si rei disastri
13. La verita in cimento: Amato ben, tu sei la mia speranza
14. Tito Manlio: Combatta un gentil cor
15. La farfalletta audace
16. Giustino: Or che cinto ho il crin d’alloro


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Soprano Simone Kermes sings a variety of repertoire from the Baroque to the Romantic, but it's in the Baroque where she has made the strongest impact, and she shines in this album of Vivaldi opera arias and solo cantatas. The recordings are culled from two earlier Deutsche Grammophon Archiv releases, Amor Profano and Amor Sacro, so fans of the singer who already own those albums would not be getting new material with this one. For other listeners, though, it's an attractive selection that showcases Kermes' versatility, as well as Vivaldi's.

Performe:
Simone Kermes, soprano
Venice Baroque Orchestra
Andrea Marcon, conductor

Track List:
Nulla in mundo pax sincera, RV 630
01. Aria (Larghetto): Nulla in mundo pax sincera
02. Recitativo: Blando colore oculos mundus decepit
03. Aria (Allegro): Spirat anguis
04. Allegro: Alleluia
L'olimpiade II, 5 (Venice, 1734)
05. Siam navi all'onde algenti (Aminta)
Semiramide II, 3 (Mantua, 1732)
06. Quegl'occhi luminosi (Oronte)
Tito Manlio II, 11 (Mantua, 1719)
07. Combatta un gentil cor (Lucio)
Gabriele Cassone trumpet
08. La farfalletta audace
In furore iustissimae irae, RV 626
09. Aria (Allegro): In furore iustissimae irae
10. Recitativo: Miserationum Pater piissime
11. Aria (Largo): Tune meus fletus
12. Allegro: Alleluia
Orlando furioso II, 3 (Venice, 1713-14)
13. Ah, fuggi rapido (Astolfo)
Giustino III, 8 (Rome, 1724)
14. Or che cinto ho il crin d'alloro (Amanzio)
15. Agitata da due venti (Costanza)
Griselda II, 2 (Venice, 1735)
Catone in Utica II, 9 (Verona, 1737)
16. Se in campo armato (Cesare)


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Star soprano Simone Kermes has been hailed by Opera News as "The Queen of Baroque.” This CD presents her singing arias by Handel composed for his star soprano Francesca Cuzzoni. The release features two world premiere recordings of the alternate ‘Rodelinda’ arias.

Performe:
Simone Kermes, soprano
Lautten Compagney
Wolfgang Katschter, conductor

Track List:
Scipione, HWV 20
01. Act II: Scoglio d'immota fronte
Giulio Cesare in Egitto
02. Act II: Aria: V'adoro, pupille
03. Act III: Piangero la sorte mia
04. Act II: Se pieta di me non senti
Alessandro, HWV21
05. Act I: No, piu soffrir non voglio
Rodelinda
06. Act I: Ombre piante, urne funeste
07. Act III: Ahi perche, giusto ciel
Siroe, King of Persia, HWV24
08. Act II: Or mi perdo di speranza
09. Act II: Mi lagnero tacendo
10. Act III: Torrente cresciuto
Tolomeo, HWV 25
11. Act I: Fonti amiche
Flavio, re di Longobardi, HWV 16
12. Act I: Amante stravagante
Riccardo Primo, HWV 23
13. Act III: Morte vieni
Admeto, Re di Tessaglia HWV22
14. Io ti bacio


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LAVA is a collection of rediscovered opera gems from 18th century Naples, performed by soprano Simone Kermes and the period instrument ensemble Le Musiche Nove. Musical direction is by Claudio Osele, the Italian musicologist and conductor who worked with Cecilia Bartoli on four of her successful concept albums, including the Grammy-winning Vivaldi and Gluck releases for which he delivered the concept and prepared the performing editions. Naples and Versuvius provide the linking theme between all of the pieces, nine of which are world premiere recordings (all tracks except those by Pergolesi)

Performe:
Simone Kermes, soprano
Le Musiche Nove
Claudio Osele, direction

Track List:
Giovanni Battista Pergolesi (1710-1736)
01. L'Olimpiade: Tu me da me dividi (Aristea)
Nicola Antonio Porpora (1686-1768)
02. Lucio Papirio: Morte amara (Quinto Fabio)
03. Flavio Anicio Olibrio: Se non dovesse il piè (Insertion aria)
Leonardo Vinci (1696?-1730)
04. Artaserse: Fra sento affanni e cento (Arbace)
Leonardo Leo (1694-1744)
05. Il Demetrio: Manca sollecita (Cleonice)
Johann Adolf Hasse (1699-1783)
06. Viriate: Come nave in mezzo all'onde (Siface)
Giovanni Battista Pergolesi
07. Adriano In Siria: Lieto cosi alvolta (Farnaspe)
Johann Adolf Hasse
08. Antigono: Perché, se tanti siete (Berenice)
Leonardo Vinci
09. Artaserse: No che non ha la sorte … Vo solcando un mar crudele (Arbace)
Nicola Antonio Porpora
10. Lucio Papirio: Tocco il porto (Quinto Fabio)
Johann Adolf Hasse
11. Didone Abbandonata: Tu dici ch'io non speri … L'augelletto in lacci stretto (Araspe)
Giovanni Battista Pergolesi
12. L'Olimpiade: Mentre dormi amor formenti (Licida)


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Simone Kermes, crowned “The Queen of Baroque” by Opera News, presents her eagerly awaited follow-up album to her multi-award-winning album Lava, which was Editor’s Choice in Gramophone and Disc of the Month in BBC Music Magazine. Colori d'Amore (The Colours Of Love) is a selection of virtuosic baroque arias bound together by the theme of love, almost all of which are world premiere recordings, having been unjustly neglected for centuries.

Performe:
Simone Kermes, soprano
Le Musiche Nove
Claudio Osele, direction

Track List:
01. A. Scarlatti “Il mar de le mie pene” (Telemaco)
02. G. Bononcini “Ombra mai fù ” (Xerse)
03. A. Scarlatti “Ondeggiante agitato” (Il prigioniero fortunate)
04. A. Scarlatti “Cara tomba” (Mitridate Eupatore)
05. A. Caldara “Ha vinto Amor… Per combatter con lo sdegno” (Cajo Marzio Coriolano)
06. G. Bononcini “Dice Tirsi” (Endimione)
07. A. M. Bononcini “Più che freme il nembo irato” (La conquista de vello dell'oro)
08. A. Scarlatti “Canta dolce il rosignolo” (La gloria di Primavera)
09. N. Matteis (the younger) Balletto
10. A. Scarlatti “Qui dove … Torbido irato e nero” (Erminia)
11. A. Caldara “Se vedrai avvampar le lucciolette” (Il nome più glorioso)
12. A. Caldara “Fiamma ignota” (L'Olimpiade)
13. A. M. Bononcini “E‘ deliquio … Sonno se pur s’è sonno“ (Griselda)
14. R. Broschi “Chi non sente” (Merope)


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Emblazoned on the title page of many an 18th-century Italian opera libretto, “dramma per musica” soon became the name for the operas composed to those words. The name perfectly evokes the fury of passions which the masterpieces of the period captured with such power.
This collection of astonishing discoveries – many of them heard here in world-premiere recordings – brings together some of the most magnificent arias of the genre. All of them place such huge demands on the singer’s abilities that only the world’s most legendary castratos such as Farinelli and Caffarelli were considered able to do them justice.

Performe:
Simone Kermes, soprano
La Magnifica Comunità

Track List:
Giuseppe de Majo
01. Arianna e Teseo - Per trionfar pugnando
Nicola Antonio Porpora
02. Polifemo - Alto Giove
03. Mitridate - Vedra turbato il mare
04. L’Agrippina - Tace l’augello
05. Germanico in Germania - Empi, se mai disciolgo
06. Ifigenia in Aulide - Le limpid’onde
Leonardo Leo
07. Zenobia in Palmira - Son qual nave in ria procella
Johann Adolf Hasse
08. L’Olimpiade - Consola il genitore
Giovanni Battista Pergolesi
09. Adriano in Siria - Sul mio cor
Nicola Antonio Porpora
10. Germanico in Germania - Se dopo ria procella
George Frideric Handel
11. Rinaldo - Lascia ch’io pianga
Johann Adolf Hasse
12. Artaserse - Fra cento affanni e cento


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With her new album Simone Kermes presents her dedication to bel canto. Despite the title the Baroque soprano hasn’t suddenly switched from one voice type to another but is simply following her own interpretation of this term, arguing that bel canto is “inconceivable without reference to the Baroque tradition”.
The album centres around famous arias of the belcanto soprano repertoire: “Casta Diva“ from Bellini’s Norma, “O luce di quest’ anima“ from Donizetti’s Linda di Chamounix and “Dolce pensiero“ from Rossini’s Semiramide.
The programme also features a number of rarely performed works: Airas of Mercadantes “Virginia“, Rossini’s “Maometto Secondo“, Donizetti’s “Betly“ or Bellini’s “Adelson e Salvini“. As a connecting link between baroque and bel canto Kermes added the two arias of the Queen of Night from Mozart’s Magic Flute. Simone Kermes is accompanied by Concerto Cöln, performing on period instruments.

Performe:
Simone Kermes, soprano
Concerto Köln
Christoph-Mathias Mueller, conductor

Track List:
01. Mercadante "Virgina": Icilio io l'amo (Virginia)
02. Rossini "Maometto II": Giusto Ciel, in tal periglio (Anna)
03. Mozart "Die Zauberflöte": O zittre nicht (Königin der Nacht)
04. Mozart "Die Zauberflöte": Der Hölle Rache kocht in meinem Herzen (Königin der Nacht)
05. Bellini "Norma": Casta Diva (Norma)
06. Donizetti "Betly, o la capanna svizzera": In questo semplice modesto asilo (Betly)
07. Donizetti "Linda di Chamounix": Ah! Tardai troppo - O luce di quest' anima (Linda)
08. Verdi "I Masnadieri": Tu del mio Carlo al seno (Amalia)
09. Bellini "Adelson e Salvini": Dopo l'oscuro nembo (Nelly)
10. Rossini "Semiramide": Bel raggio lusinghiero - Dolce pensiero (Semiramide)
11. Verdi "Atilla": Santo di patria indefinito amor (Odabella)
12. Monteverdi "Scherzi Musicali": Si dolce il tormento


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The Album explores the artistic legacies of the two legendary singers (Francesca Cuzzoni and Faustina Bordoni) and the heights of inspiration to which their rivalry moved the leading composers of their era.
A thrilling recording, in which Simone Kermes and Vivica Genaux sing arias and duets composed at the height of the rivalry between Eighteenth-Century singers Francesca Cuzzoni and Faustina Bordoni.
June 1727 was witness to the mother of all theater scandals. Francesca Cuzzoni (alias Simone Kermes) and Faustina Bordoni (alias Vivica Genaux), arch-rivals and both superstars of Italian opera, had a fight on stage at London’s Haymarket Theatre.
Featuring music by Bononcini, Händel, Leo, Lotti, Pollarolo, Porpora, and Porta, most of which has not been heard since the careers of Bordoni and Cuzzoni, Rival Queens explores the artistic legacies of the two legendary singers and the heights of inspiration to which their much-fêted competition moved the important composers of the era.

Performe:
Simone Kermes, soprano
Vivica Genaux, mezzo-soprano
Cappella Gabetta
Andrés Gabetta, conductor

Track List:
01. Giuseppe Arena: La clemenza di Tito - Come potesti, oh dio
02. Giovanni Bononcini: Astianatte - Spera che questo cor
03. Johann Adolf Hasse: Cleofide - Se mai piu saro geloso
04. Geminiano Giacomelli: Scipione in Cartagine nuova - Villanella nube estiva
05. Domenico Natale Sarro: Lucio Vero - Al valor di Borea armato
06. Johann Adolf Hasse: Artaserse - Va'tra le selve ircane
07. Leonardo Vinci: Ifigenia in Tauride - L'onda chiara, che dal fonte
08. Nicola Antonio Porpora: Adelaide - Nobil onda
09. Attilio Ariosti: Lucio Verro - Vorreste, o mio pupille
10. Nicola Antonio Porpora: Arianna in Naxo - In amoroso petto
11. Giovanni Bononcini: Astianatte - Svenalo, traditor!
12. Johann Adolf Hasse: Issipile - Impallidisce in campo
13. Leonardo Leo: Ciro Riconosciuto - Beneche l'augel s'asconda
14. Antonio Pollarolo: Lucio Papirio dittatore - Padre amoroso
15. Johann Adolf Hasse: Artaserse - Tu vuoi ch'io viva, o cara


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A collection of beautiful baroque and renaissance love songs that reflect the versatility of love – passionate, dramatic and addictive by the most popular composers of this time, from Monteverdi, Purcell, Cesti to Merula and Dowland. The arrangement, cast of instruments, and recording set up is as such that the “pop song” quality, the contemporary and eternal spirit, the immediacy of these compositions is revealed. All sung with the unique legato, pure, and silver quality that makes Simone Kermes' voice so special. This is Simone Kermes' most intimate and personal album yet.

Performe:
Simone Kermes, soprano
La Magnifica Comunità
Enrico Casazza, direction

Track List:
01 Claudio Monteverdi: Lamento della ninfa: Amor, amor
02 Tarquinio Merula: Folle è ben che si crede
03 Antoine Boesset: Quelles beautés, ô mortels (Récit de Mnémosyne)
04 Luis de Briceno: Ay amor loco
05 Barbara Strozzi: Che si può fare?
06 Michel Lambert: Sombres déserts
07 Henry Purcell: If Love's a Sweet Passion
08 Francesco Manelli: Grida l'alma a tutt' ore
09 Antoine Boesset: Frescos ayres del prado
10 Tarquinio Merula: Chi vuol ch'io m'innamori
11 Tarquinio Merula: Chi mi tolse alle sfere! … Lumi potete piangere
12 John Eccles: I Burn, I Burn
13 Antonio Cesti: Disserratevi abissi
14 John Eccles: Restless in Thoughts
15 John Dowland: Now, O Now I Needs Must Part
16 Antonio Cesti: Piu bella maestà … Dormi, dormi ben mio
17 Henry Purcell: Thy Hand Belinda … When I Am Laid in Earth (Dido's Lament)


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Simone Kermes is a highly idiosyncratic performer who delights in pushing the boundaries of good taste, often unafraid to inject her singing with a grab bag of vocal tricks. So it’s surprising that her latest release is that most standard of offerings, one to put next to your favourite singer’s Verdi or Puccini disc – the Handel recital.

Performe:
Simone Kermes, soprano
Amici Veneziani

Track List:
Rinaldo, HWV 7a
01. Act I, Scene 5: Furie terribili!
Giulio Cesare in Egitto, HWV 17
02. Act III, Scene 3: Piangerò la sorte mia
La Resurrezione, HWV47
03. Part I: Disserratevi, o porte d'Averno
Amadigi di Gaula, HWV 11
04. Act I, Scene 4: Ah, spietato
Il Trionfo del Tempo e del Disinganno, HWV 46a
05. Part II: Come nembo che fugge col vento
Serse, HWV 40
06. Act I, Scene 1: Ombra mai fu
Teseo, HWV 9
07. Act V, Scene1: Morirò, ma vendicata
Rodelinda, HWV 19
08. Act III, Scene 4: Se 'l mio duol non è si forte
Athalia, HWV 52
09. Part II, Scene 4: My vengeance awakes me
Saul, HWV 53
10. Act II, Scene 2: Author of Peace
Deidamia, HWV 42
11. Act III, Scene 2: M'hai resa infelice
Lotario, HWV 26
12. Act I, Scene 10: Scherza in mar la navicella
Neun deutsche Arien, HWV 205
13. No. 4: Süße Stille, sanfte Quelle
The Triumph of Time and Truth, HWV 71
14. Part III: Guardian Angels
Rinaldo, HWV 7a
15. Act II, Scene 4: Lascia ch'io pianga