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Fabio Biondi, Rinaldo Alessandrini - Alessandro Scarlatti: Cain overo Il Primo Omicidio (1992)

Posted By: ArlegZ
Fabio Biondi, Rinaldo Alessandrini - Alessandro Scarlatti: Cain overo Il Primo Omicidio (1992)

Fabio Biondi, Rinaldo Alessandrini, Concerto Italiano, Europa Galante - Alessandro Scarlatti: Cain overo Il Primo Omicidio (1992)
EAC | FLAC | Image (Cue & Log) ~ 747 Mb | Total time: 66:07+71:50 | Scans included
Classical | Label: Opus 111 | OPS 30-75/76 | Recorded: 1992

La célèbre épopée biblique relatant le meurtre d’Abel par Caïn est connue de tous, mais la mise en scène qu’Alessandro Scarlatti lui a dédiée l’est beaucoup moins. Thème récurant pour les oratorios italiens au XVIIe siècle, le sujet est traité ici à la manière d’une histoire policière. Avec un effectif musical réduit, il nous transporte dans un univers baroque étourdissant. Les accents lyriques sont d’une expressivité rare tandis que l’orchestre, faisant preuve de beaucoup de psychologie, exulte. Par bonheur, la prise de son est à l’avenant. Les divers plans sonores sont respectés avec une très belle transparence et une foule de détails sur les voix et sur les instruments.

Rinaldo Alessandrini, Concerto Italiano - Antonio Vivaldi: La Senna Festeggiante (2002)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Antonio Vivaldi: La Senna Festeggiante (2002)

Rinaldo Alessandrini, Concerto Italiano - Antonio Vivaldi: La Senna Festeggiante (2002)
EAC | FLAC | Image (Cue & Log) ~ 367 Mb | Total time: 72:10 | Scans included
Classical | Label: Naïve / Opus 111 | OP30339 | Recorded: 2001

Three serenatas by Vivaldi survive (he is known to have composed at least eight)‚ of which La Senna festeggiante is by far the most enjoyable…One of the work’s most interesting features is Vivaldi’s deliberate use in places of elements of French style‚ for instance in the solemn ‘ouvertur’ which opens Part 2 and the courtly minuet of The Golden Age’s second aria‚ thereby adding to the richness of a work which for the most part is vintage Vivaldi at his most buoyant and irresistible.

Concerto Italiano, Rinaldo Alessandrini - J.S. Bach: Variations on Variations (2017)

Posted By: tirexiss
Concerto Italiano, Rinaldo Alessandrini - J.S. Bach: Variations on Variations (2017)

Concerto Italiano, Rinaldo Alessandrini - J.S. Bach: Variations on Variations (2017)
EAC | FLAC (image+.cue, log) | Covers Included | 01:08:17 | 390 MB
Genre: Classical | Label: Naïve | Catalog: OP 30575

In this programme entitled Variations on Variations, Rinaldo Alessandrini, one of the today’s references on Baroque music, has chosen to adapt the Goldberg Variations and the Aria variata alla maniera italiana - initially composed for the keyboard - for small string ensemble, from duo to quartet.

Rinaldo Alessandrini, Concerto Italiano - Antonio Vivaldi: L'Olimpiade (2002)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Antonio Vivaldi: L'Olimpiade (2002)

Rinaldo Alessandrini, Concerto Italiano - Antonio Vivaldi: L'Olimpiade (2002)
EAC | FLAC | Image (Cue & Log) ~ 827 Mb | Total time: 175:19 | Scans included
Classical | Label: Naïve | # OP30316 | Recorded: 2002

Despite the public context – the story is played out against the backdrop of the Olympic Games – this is a drama which focuses on the personal predicaments of the principal characters, each of whom faces an interesting conflict between head and heart somewhere along the line. This is more apparent from Metastasio's words than from Vivaldi's music, to be honest, but that isn't to say that the composer has been unresponsive. The most effective and intimate moments occur in the recitatives, which are fluidly conversational and full of realistic interruptions, questions and exclamations, all of which Vivaldi handles with considerable dramatic skill.

Rinaldo Alessandrini, Concerto Italiano - Monteverdi: Tutti I Madrigali (2023)

Posted By: Rtax
Rinaldo Alessandrini, Concerto Italiano - Monteverdi: Tutti I Madrigali (2023)

Rinaldo Alessandrini, Concerto Italiano - Monteverdi: Tutti I Madrigali (2023)
WEB FLAC (tracks) - 2.9 GB | MP3 CBR 320 kbps - 1.6 GB
11:45:30 | Classical | Label: naïve

In the forty years that he has been working on Monteverdi, Rinaldo Alessandrini has revealed the beauty, poetry and genius of the music. Today, naïve publish a box set containing the entire collection of his recordings of the madrigals with Concerto Italiano: 12 hours of music on 11 CDs, including previously unreleased books I and IX. Rinaldo Alessandrini’s vast discography with his Concerto Italiano has included Monteverdi’s madrigals, presented whenever he wished, interlinked themes and personal dramaturgies. This complete, non- chronological collection, which began in 1993 with book IV, then gradually increased over the years up to books I and IX, recorded last year, as yet missing from their catalogue, has now culminated in the publication of a dense, full and well-documented box set.

Rinaldo Alessandrini, Concerto Italiano - Alessandro Scarlatti: Cantata per la Notte di Natale (1996)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Alessandro Scarlatti: Cantata per la Notte di Natale (1996)

Rinaldo Alessandrini, Concerto Italiano - Alessandro Scarlatti: Cantata per la Notte di Natale (1996)
EAC | FLAC | Image (Cue & Log) ~ 338 Mb | Total time: 71:21 | Scans included
Classical | Label: Opus 111 | # OPS 30-156 | Recorded: 1996

Extraordinarily, Alessandro Scarlatti (who died in 1725 and forms a strong bridge between the mature Baroque and later classical traditions, according to musicologist Edward Dent) wrote some sixty-four operas, twenty oratorios, hundreds of chamber cantatas, and a host of madrigals, masses, motets, toccatas, concertos, sonatas and symphonies. Very little of this is heard today, sadly, except in specialist circles. Perhaps one of the more popularly performed pieces is 'Abramo, il tuo sembiante' (a Christmas cantata). When Handel visited Italy between 1706 and 1710, he met Scarlatti and may even have studied with him. This performance of said cantata is well within the Italian style - clear lines and intricate ornamentation.

Rinaldo Alessandrini, Concerto Italiano - Claudio Monteverdi: Settimo Libro de' Madrigali (2022)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Claudio Monteverdi: Settimo Libro de' Madrigali (2022)

Rinaldo Alessandrini, Concerto Italiano - Claudio Monteverdi: Settimo Libro de' Madrigali (2022)
EAC | FLAC | Image (Cue & Log) ~ 624 Mb | Total time: 132:39 | Scans included
Classical | Label: Naïve | # OP7365 | Recorded: 2020

Claudio Monteverdi's Seventh Book of Madrigals have been recorded well by several early music groups, but one expects superior readings from harpsichordist Rinaldo Alessandrini and his vocal-instrumental ensemble Concerto Italiano, and indeed, one gets them here. Alessandrini's versions are on the spare side, with seven voices and an instrumental ensemble of 13 that includes three continuo instruments plus percussion, with Alessandrini's harpsichord prominent in the mix, but he has all the equipment he needs to deliver a really distinctive "concerto," as the title of the Seventh Book boldly proclaims itself. With this book, Monteverdi moved decisively away from the old polyphonic madrigal ideal and toward the text-based settings that would be the norm for vocal music over the next four centuries and counting.

Rinaldo Alessandrini, Concerto Italiano - Antonio Vivaldi: Gloria; Magnificat; Concerti (2000)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Antonio Vivaldi: Gloria; Magnificat; Concerti (2000)

Rinaldo Alessandrini, Concerto Italiano, Akademia-Ensemble Vocal Champagne & Ardenne - Antonio Vivaldi: Gloria; Magnificat; Concerti (2000)
EAC | FLAC | Image (Cue & Log) ~ 590 Mb | Total time: 59:49+62:45 | Scans included
Classical | Label: Opus 111 | # OPS 1951 | Recorded: 1997

Don't let the startling double-time opening of this Gloria put you off–listen with an open mind and you'll be surprised at how much sense it makes. Rinaldo Alessandrini's reading has many such surprises; some movements are taken very quickly, others surprisingly slowly, yet his choices seem fresh instead of perverse. The Magnificat is lesser known and thus less surprising, but it's every bit as lively. The soloists all sing nicely; the clear-voiced York and vigorous Mingardo provide imaginative ornaments. The excellent French chorus Akademia and Alessandrini's orchestra don't miss a single one of Alessandrini's beats.

Rinaldo Alessandrini, Concerto Italiano - Claudio Monteverdi: Libri de’ madrigali [5CDs] (2001)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Claudio Monteverdi: Libri de’ madrigali  [5CDs] (2001)

Rinaldo Alessandrini, Concerto Italiano - Claudio Monteverdi: Libri de’ madrigali (2001)
EAC | FLAC | Image (Cue & Log) ~ 1.31 Gb | Total time: 5h 29 m | Scans included
Classical | Label: Opus 111 | # OP 30348 | Recorded: 1993, 1994, 1996, 1997, 1998

Monteverdi was only 23 when he published his Second Book of Madrigals in 1590, but he was already a master of the form, and these contrapuntally lively pieces, with their supple and astute text setting, are crowning works of late Renaissance secular polyphony. With this release of the Second Book, Rinaldo Alessandrini moves closer to his goal of recording all of Monteverdi's eight Books of Madrigals, performed by Concerto Italiano, the ensemble he founded in 1984. The series has received much-deserved critical acclaim; three of the releases won Gramophone Awards, and this 1994 recording won a Diapason d'Or. Concerto Italiano is a group whose roster is flexible, based on the requirements of the music performed, and here seven unaccompanied singers configure themselves in a variety of combinations in the five-part madrigals.

Rinaldo Alessandrini, Concerto Italiano - Claudio Monteverdi: Il Sesto Libro de Madrigali (2011)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano -  Claudio Monteverdi: Il Sesto Libro de Madrigali (2011)

Rinaldo Alessandrini, Concerto Italiano - Claudio Monteverdi: Il Sesto Libro de Madrigali (2011)
EAC | FLAC | Image (Cue & Log) ~ 290 Mb | Total time: 63:50 | Scans included
Classical | Label: Naive | # OP 30423 | Recorded: 2005

The style of Italian early music conductor Rinaldo Alessandrini and his Concerto Italiano might be described as both strongly expressive and highly intelligent. Consider this recording of Monteverdi's Sixth Book of Madrigals, pieces that hover between the older polyphonic madrigal tradition and the newer, essentially soloistic and dramatic language of opera. The texts of these mostly five-part pieces focus almost exclusively on extremely melancholy depictions of mourning for love lost, mostly through death – something Alessandrini in his detailed and highly informative notes attributes to the death of Monteverdi's wife and his favorite female student shortly before the music was composed. Alessandrini takes the ideal of text expression as paramount, downplaying larger formal details in favor of a sequence of extremely intense moments.

Rinaldo Alessandrini, Concerto Italiano - Claudio Monteverdi: Vespro della Beata Vergine (2004)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Claudio Monteverdi: Vespro della Beata Vergine (2004)

Rinaldo Alessandrini, Concerto Italiano - Claudio Monteverdi: Vespro della Beata Vergine (2004)
EAC | FLAC | Image (Cue & Log) ~ 518 Mb | Total time: 50:11+55:16 | Scans included
Classical | Label: Naïve | # OP 30403 | Recorded: 2004

Rinaldo Alessandrini's brilliantly realized recording of Monteverdi's Vespers is an intimate, slightly pared down version of the early Baroque masterpiece. Working in the warm acoustic of Rome's Palazzo Farnese, he employs just one singer per part, and eliminates instrumental doublings in the choral movements except where they are expressly indicated. The result is a compact, richly haloed sound that won't ever knock you out of your chair, but which flatters the more intimate solo and duet movements that can sound anemic in grander productions; with the sound gap between the biggest and smallest movements closed, each holds its own within the overall structure of the piece. While Alessandrini deserves credit for his conception and leadership, and especially his insightful treatment of Monteverdi's ever-changing rhythmic flow, it is his group of 12 singers that make the strongest impression.

Sara Mingardo, Concerto Italiano, Rinaldo Alessandrini - Monteverdi, Vivaldi, Handel: Arie, Madrigali & Cantate (2004)

Posted By: tirexiss
Sara Mingardo, Concerto Italiano, Rinaldo Alessandrini - Monteverdi, Vivaldi, Handel: Arie, Madrigali & Cantate (2004)

Sara Mingardo, Concerto Italiano, Rinaldo Alessandrini - Monteverdi, Vivaldi, Handel: Arie, Madrigali & Cantate (2004)
EAC | FLAC (image+.cue, log) | Covers Included | 71:40 | 446 MB
Genre: Classical, Vocal | Label: Naive | Catalog: OP 30395

Sara Mingardo has been creating quite a stir in baroque circles but this is my first chance to catch up with her. In one sense she may be considered a "typical" baroque singer, in the sense that she uses a completely straight vocal production, from which vibrato has been rigorously excluded, and cultivates a somewhat plangent, nasal sound, with the result that a casual listener might suppose he was listening to a counter-tenor.

Rinaldo Alessandrini, Concerto Italiano - Pergolesi: Messa di S. Emidio; A. Scarlatti: Messa per il Santissimo Natale (2008)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Pergolesi: Messa di S. Emidio; A. Scarlatti: Messa per il Santissimo Natale (2008)

Rinaldo Alessandrini, Concerto Italiano - Giovanni Battista Pergolesi: Messa di S. Emidio; Alessandro Scarlatti: Messa per il Santissimo Natale (2008)
EAC | FLAC | Image (Cue & Log) ~ 295 Mb | Total time: 58:39 | Scans included
Classical | Label: Naïve | # OP30461 | Recorded: 2008

Rinaldo Alessandrini and his Concerto Italiano have a well-deserved reputation for combining insight, fresh interpretative vigor and wide-ranging technical accomplishment in their performances of the Italian late Renaissance and Baroque repertoires. This CD of two masses – from Pergolesi (1710-1736) and Alessandro Scarlatti (1660-1725) – stands as ample demonstration of these strengths.

Rinaldo Alessandrini, Concerto Italiano - Giovanni Battista Pergolesi, Alessandro Scarlatti: Stabat Mater (2004)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Giovanni Battista Pergolesi, Alessandro Scarlatti: Stabat Mater (2004)

Rinaldo Alessandrini, Concerto Italiano - Giovanni Battista Pergolesi, Alessandro Scarlatti: Stabat Mater (2004)
EAC | FLAC | Image (Cue & Log) ~ 331 Mb | Total time: 79:39 | Scans included
Classical | Label: Naïve | # OP 30406 | Recorded: 1998

Pergolesi's legendary Stabat Mater for solo soprano and alto acquired its mystique early on: not only does it boast striking melodies and harmonies, but the composer finished it just days before dying of tuberculosis at age 26. That irresistibly mythic circumstance, combined with the sacred nature of the text, led to an air of reverence that has surrounded the work for two centuries. It's this reverence that Rinaldo Alessandrini means to strip away, showing us the very theatrical style in which Pergolesi actually wrote. Using only six period string instruments rather than the customary small orchestra, Alessandrini directs a remarkable performance: the very quick or very slow tempos, sudden accents, and dynamic extremes are often surprising but always credible.

Rinaldo Alessandrini, Concerto Italiano - Antonio Vivaldi: Vespri per l'Assunzione di Maria Vergine (2008)

Posted By: ArlegZ
Rinaldo Alessandrini, Concerto Italiano - Antonio Vivaldi: Vespri per l'Assunzione di Maria Vergine (2008)

Rinaldo Alessandrini, Concerto Italiano - Antonio Vivaldi: Vespri per l'Assunzione di Maria Vergine (2008)
EAC | FLAC | Image (Cue & Log) ~ 727 Mb | Total time: 76:42+76:24 | Scans included
Classical | Label: Naïve | # OP 30543 | Recorded: 2003

This isn't the 'Vivaldi Vespers', or even a reconstruction of a specific event, but a kind of 'sacred concert' in Vespers form, of the sort that Venetian churches in Vivaldi's time would mount in the name of worship.
Whether he ever supplied all the music for any such occasion isn't clear, but he certainly set plenty of Vespers texts, enough at any rate for Rinaldo Alessandrini and scholar Frédéric Delaméa to put together this rich programme.