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Nathalie Stutzmann - Contralto
14,00 € 17,99 €
Formát:
CD
Dostupnosť:
7-14 dní
Katalógové číslo:
1902952095
EAN kód:
190295209551
Autori:
Antonio Lotti, Antonio Vivaldi, CALDARA Antonio, Francesco Gasparini, Georg Friedrich Händel, Giovanni Bononcini, Nicola Porpora
Interpreti:
Nathalie Stutzmann, Orfeo 55
Vydavateľ:
ERATO, WARNER CLASSICS
Zoznam skladieb
Handel: Tamerlano, HWV 18, Act I: "Dal crudel che m'ha tradita" (Irene)Work length3:14
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
Porpora: Meride e Selinunte, Act II: "Torbido intorno al core" (Ericlea)
Work length7:49
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
Handel: Ariodante, HWV 33: Overture to Act II
Work length1:45
Orfeo 55
Nathalie Stutzmann
Handel: Rinaldo, HWV 7b, Act II: "Mio cor, che mi sai dir?" (Goffredo)
Work length2:55
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
Vivaldi: Tito Manlio, RV 738, Act I: "Di verde ulivo" (Vitellia)
Work length6:07
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
Vivaldi: Farnace, RV 711, Act II: "Gelido in ogni vena" (Farnace)
Work length9:30
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
Handel: Berenice, HWV 38: Sinfonia to Act III
Work length2:48
Orfeo 55
Nathalie Stutzmann
Porpora: Semiramide riconosciuta, Act II: "Tradita, sprezzata" (Semiramide)
Work length3:31
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
Bononcini, G B: Griselda, Act II: "Caro addio, dal labbro amato" (Griselda)
Work length5:53
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
Lotti: Alessandro Severo: Sinfonia to Act III
Work length1:05
Orfeo 55
Nathalie Stutzmann
Handel: Arminio, HWV 36, Act I: "Sento il cor per ogni lato" (Ramise)
Work length2:50
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
Caldara: Euristeo, Act III: "Sotto un faggio o lungo un rio" (Erginda)
Work length8:52
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
Vivaldi: Bajazet, RV 703, Act III
Work length3:43
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
"È morto, sì, tiranno... " (Asteria)
Track length1:35
"Svena, uccidi, abbatti, atterra" (Asteria)
Track length2:08
Porpora: Statira, Act I: "Mira d'entrambi il ciglio" (Statira)
Work length4:52
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
Handel: Amadigi di Gaula, HWV 11: Overture - II. Gavotta
Work length1:20
Orfeo 55
Nathalie Stutzmann
Gasparini: La fede tradita e vendicata, Act II: "Empia mano" (Ernelinda)
Work length5:55
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
Handel: Sosarme, re di Media, HWV 30, Act II: "Vado, vado al campo" (Erenice)
Work length2:28
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
Vivaldi: L'incoronazione di Dario, RV 719, Sinfonia
Work length4:48
Orfeo 55
Nathalie Stutzmann
I. Allegro
Track length2:27
II. Andante e pianissimo
Track length1:47
III. Presto
Track length0:34
Vivaldi: Ginevra principessa di Scozia, RV 716, Act II: "Degli Elisi dal soggiorno" (Lurcanio)
Work length4:03
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
Lotti: Alessandro Severo, Sinfonia: I. Allegro
Work length1:29
Orfeo 55
Nathalie Stutzmann
Lotti: Alessandro Severo
Work length2:47
Orfeo 55
Nathalie Stutzmann
Sinfonia - II. —
Track length1:38
Sinfonia - III. Presto
Track length1:09
Handel: Berenice, HWV 38: Overture - III. Andante larghetto
Work length1:40
Orfeo 55
Nathalie Stutzmann
Handel: Rinaldo, HWV 7b, Act III: "Sorge nel petto" (Goffredo)
Work length4:29
Nathalie Stutzmann (contralto)
Orfeo 55
Nathalie Stutzmann
Popis
A plea for the diversity of the female alto voice: Nathalie Stutzmann sings contralto arias of the baroque era
On this album, Nathalie Stutzmann focuses on the history of deep-voiced female singers of the Baroque period, who were often unjustly overshadowed by the sometimes idolized castrato singers such as Farinelli and Caffarelli. The program - featuring arias by Handel, Vivaldi, Porpora, Bononcini, Caldara, and Gasparini, among others - showcases the diversity of female and male operatic roles taken on by "contralto" singers of the time such as Vittoria Tesi and Anna Marchesini. "We must remember that early 18th-century opera composers considered the female alto and the male castrato to be vocally interchangeable," says Stutzmann, "and that the voice closest to a castrato is not the countertenor - produced with a falsetto technique - but the alto, which is a natural voice." Stutzmann simultaneously sings and conducts her instrumental ensemble, Orfeo 55, which she founded a decade ago.Prihlásenie
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