Camilla Tilling, Musica Saeculorum & Philipp von Steinaecker - Loves Me... Loves Me Not... (2017) [Hi-Res]
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BAND/ARTIST: Camilla Tilling, Musica Saeculorum, Philipp von Steinaecker
- Title: Loves Me... Loves Me Not...
- Year Of Release: 2017
- Label: BIS
- Genre: Classical
- Quality: flac 24bits - 96.0kHz +booklet
- Total Time: 01:05:49
- Total Size: 1.1 gb
- WebSite: Album Preview
Tracklist
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01. Idomeneo, K. 366: Overture
02. Idomeneo, K. 366: Act I: Quando avran fine omai l'aspre sventure mie?
03. Idomeneo, K. 366: Act I: Padre, germani, addio!
04. Idomeneo, K. 366: Act III: Solitudini amiche, aure amorose
05. Idomeneo, K. 366: Act III: Zeffiretti lusinghieri de volate al mio tesoro
06. Orfeo ed Euridice, Wq. 30: Act III: Recitativo: Qual vita è questa mai
07. Orfeo ed Euridice, Wq. 30: Act III: Aria: Che fiero momento
08. Le nozze di Figaro, K. 492: Act IV: Recitative and Aria: Giunse al fin il momento...
09. Le nozze di Figaro, K. 492: Act IV: Aria: Deh vieni non tardar
10. Così fan tutte, K. 588: Act I: Recitative: Temerari! Sortite fuori di questo loco!
11. Così fan tutte, K. 588: Act I: Aria: Come scoglio
12. Armide, Wq. 45: Act II: Enfin, il est en ma puissance
13. Armide, Wq. 45: Act II: Aria: Quel trouble me saisit?... Ah quelle cruauté...
14. Armide, Wq. 45: Act III: Ah! Si la liberté me doit être ravie
15. Così fan tutte, K. 588: Act II: Recitative: Ei parte... senti... ah no!
16. Così fan tutte, K. 588: Act II: Rondo: Per pietà, ben mio, perdona...
17. Le nozze di Figaro, K. 492: Act III: Recitative and Aria: E Susanna non vien!
18. Le nozze di Figaro, K. 492: Act III: Aria: Dove sono i bei momenti
19. Iphigénie en Tauride, Act II: O malheureuse Iphigénie
Love plays a significant part in most operas, but all too often it is frustrated, or entangled with deception, humiliation and betrayal. With her new disc Camilla Tilling presents a near-comprehensive catalogue of the emotions that the vagaries of love can raise in the breast of an operatic heroine. And these emotions are universal and timeless, afflicting servants and countesses, Grecian princesses, a sorceress from Damascus and a young lady of 18th-century Naples alike.
Gluck’s Armide glories in having Renaud in her power – until she realizes that her feelings makes it impossible to destroy him as she had planned. Newly raised from the dead, his Euridice is defenceless against the strong emotions of the living, and beset by doubts when Orpheus refuses to acknowledge her on their way back to earth. In the bravura aria Come scoglio, Mozart’s Fiordiligi proclaims her steadfast love for Guglielmo, but in the following act of the opera she regretfully admits to having been enamoured by another. And from The Marriage of Figaro we hear Susanna inviting the loved one to a nocturnal rendez-vous (‘Deh vieni, non tardar’) as well as her mistress, the Countess, wondering in ‘Dove sono’ what happened to the loving marriage she once had.
With a soprano typically described as ‘radiant’, ‘vernal’ or ‘silvery’, Camilla Tilling has performed several of the roles featured here at venues such as Opéra National de Paris, Covent Garden, Salzburg Mozarteum and Drottningholm Slottsteater. On this recording she partnered by Philipp von Steinaecker and his Musica Saeculorum, whose period instruments bring out all the sweetness, pain and regret that Gluck and Mozart magically worked into their scores.
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01. Idomeneo, K. 366: Overture
02. Idomeneo, K. 366: Act I: Quando avran fine omai l'aspre sventure mie?
03. Idomeneo, K. 366: Act I: Padre, germani, addio!
04. Idomeneo, K. 366: Act III: Solitudini amiche, aure amorose
05. Idomeneo, K. 366: Act III: Zeffiretti lusinghieri de volate al mio tesoro
06. Orfeo ed Euridice, Wq. 30: Act III: Recitativo: Qual vita è questa mai
07. Orfeo ed Euridice, Wq. 30: Act III: Aria: Che fiero momento
08. Le nozze di Figaro, K. 492: Act IV: Recitative and Aria: Giunse al fin il momento...
09. Le nozze di Figaro, K. 492: Act IV: Aria: Deh vieni non tardar
10. Così fan tutte, K. 588: Act I: Recitative: Temerari! Sortite fuori di questo loco!
11. Così fan tutte, K. 588: Act I: Aria: Come scoglio
12. Armide, Wq. 45: Act II: Enfin, il est en ma puissance
13. Armide, Wq. 45: Act II: Aria: Quel trouble me saisit?... Ah quelle cruauté...
14. Armide, Wq. 45: Act III: Ah! Si la liberté me doit être ravie
15. Così fan tutte, K. 588: Act II: Recitative: Ei parte... senti... ah no!
16. Così fan tutte, K. 588: Act II: Rondo: Per pietà, ben mio, perdona...
17. Le nozze di Figaro, K. 492: Act III: Recitative and Aria: E Susanna non vien!
18. Le nozze di Figaro, K. 492: Act III: Aria: Dove sono i bei momenti
19. Iphigénie en Tauride, Act II: O malheureuse Iphigénie
Love plays a significant part in most operas, but all too often it is frustrated, or entangled with deception, humiliation and betrayal. With her new disc Camilla Tilling presents a near-comprehensive catalogue of the emotions that the vagaries of love can raise in the breast of an operatic heroine. And these emotions are universal and timeless, afflicting servants and countesses, Grecian princesses, a sorceress from Damascus and a young lady of 18th-century Naples alike.
Gluck’s Armide glories in having Renaud in her power – until she realizes that her feelings makes it impossible to destroy him as she had planned. Newly raised from the dead, his Euridice is defenceless against the strong emotions of the living, and beset by doubts when Orpheus refuses to acknowledge her on their way back to earth. In the bravura aria Come scoglio, Mozart’s Fiordiligi proclaims her steadfast love for Guglielmo, but in the following act of the opera she regretfully admits to having been enamoured by another. And from The Marriage of Figaro we hear Susanna inviting the loved one to a nocturnal rendez-vous (‘Deh vieni, non tardar’) as well as her mistress, the Countess, wondering in ‘Dove sono’ what happened to the loving marriage she once had.
With a soprano typically described as ‘radiant’, ‘vernal’ or ‘silvery’, Camilla Tilling has performed several of the roles featured here at venues such as Opéra National de Paris, Covent Garden, Salzburg Mozarteum and Drottningholm Slottsteater. On this recording she partnered by Philipp von Steinaecker and his Musica Saeculorum, whose period instruments bring out all the sweetness, pain and regret that Gluck and Mozart magically worked into their scores.
Year 2017 | Classical | FLAC / APE | HD & Vinyl
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