Il Complesso Barocco & Alan Curtis - Vivaldi: Motezuma (2006)
BAND/ARTIST: Il Complesso Barocco, Alan Curtis
- Title: Vivaldi: Motezuma
- Year Of Release: 2006
- Label: Archiv Produktion
- Genre: Classical
- Quality: FLAC (image + .cue, log, artwork)
- Total Time: 3:14:48
- Total Size: 1.02 GB
- WebSite: Album Preview
Tracklist:
Disc 1
01. MOTEZUMA, dramma per musica in tre atti, RV 723 - Sinfonia: I. Allegro
02. Sinfonia: II. Andante molto
03. Sinfonia: III. Allegro
04. ATTO PRIMO. Scene 1-2. Accompagnato (Motezuma): “Son vinto, eterni dei!” - Recitativi (Mitrena, Teutile, Motezuma)
05. Scena 2. Aria (Motezuma): “Gl’oltraggi della sorte”
06. Scena 3. Recitativo (Mitrena, Teutile): “Oh comando! Oh dovere!”
07. Scena 3. Aria (Mitrena): “Là sull’eterna sponda”
08. Scene 4-5. Accompagnato (Teutile): “Che legge e questa mai!” - Recitativi (Fernando, Teutile, Motezuma, Mitrena, Ramiro)
09. Scena 5. Aria (Fernando): “Dallo sdegno che m’accende”
10. Scena 6. Recitativo (Ramiro, Teutile): “Mirarti appena ardisco”
11. Scena 6. Aria (Teutile): “Barbaro, più non sento”
12. Scena 7. Recitativo (Ramiro): “Infausto di, quante sciagure veggo”
13. Scena 7. Aria (Ramiro): “Tace il labbro”
14. Scene 8-10. Recitativi (Motezuma, Teutile, Ramiro, Fernando): “Numi, se ancor pietosi”
15. Scene 9-14. Recitativi (Fernando, Teutile, Ramiro, Motezuma, Mitrena, Asprano): “Qual silenzio è mai questo?”
16. Scena 14. Aria (Fernando): “I cenni d’un sovrano”
17. Scena 15. Recitativo & Accompagnato (Motezuma): “Confesso: non discerno ove son” - “Ma non s’estingue”
18. Scena 15. Aria (Motezuma): “Se prescritta in questo giorno”
19. Scena 16. Accompagnato (Mitrena): “Parte l’afflitto sposo”
20. Scena 16. Aria (Mitrena): “S’impugni la spada”
21. Scena 17. Recitativo (Asprano): “Non m’avvilisco ancor”
22. Scena 17. Aria (Asprano): “Nell’aspre sue vicende”
Disc 2
01. ATTO SECONDO. Scena 1. Recitativo (Teutile, Asprano): “Vani i consigli sono”
02. Scena 1. Aria (Asprano): “Brilleran per noi più belle”
03. Scene 2-3. Recitativi (Teutile, Fernando, Ramiro): “Principio a respirar”
04. Scena 3. Aria (Ramiro): “Quel rossor ch’in volto miri”
05. Scene 4-5. Recitativi (Mitrena, Fernando, Motezuma): “Fernando, il gran momento s’avvicina fra noi”
06. Scena 5. Terzetto (Motezuma, Fernando, Mitrena): “A battaglia, a battaglia!”
07. Scene 6-7. Recitativi (Ramiro, Asprano, Fernando): “Consolatevi, amici”
08. Scena 7. Aria (Fernando): “Sei troppo, troppo facile”
09. Scena 8. Recitativo (Asprano): “Mi deride, mi sprezza”
10. Scena 8. Aria (Asprano): “D'ira e furor armato”
11. Scena 9. Recitativo (Fernando, Motezuma): “Fermati, non fuggir”
12. Scena 9. Sinfonia per il combattimento
13. Scena 10. Recitativo (Ramiro, Teutile): “Che fate? Ove correte, valorosi guerrier?”
14. Scena 10. Aria (Ramiro): “In mezzo alla procella”
15. Scene 11-13. Recitativi (Teutile, Mitrena, Asprano): “Vanne, crudel!”
16. Scena 13. Aria (Teutile): “Un guardo, oh dio!”
17. Scena 14. Recitativo (Mitrena, Asprano): “Vanne, che vendicata la tua morte sarà”
18. Scena 14. Aria (Mitrena): “La figlia, lo sposo”
Disc 3
01. ATTO TERZO. Scena 1. Recitativo (Ramiro, Fernando): “Esci german”
02. Scena 1. Aria (Fernando): “L’aquila generosa”
03. Scena 2. Recitativo (Ramiro, Motezuma): “Or ch’è salvo il german”
04. Scena 2. Aria (Ramiro): “Anche in mezzo dei contenti”
05. Scena 3. Recitativo (Asprano, Motezuma): 'Eseguite, soldati”
06. Scena 3. Aria (Asprano): “Dal timor, dallo spavento”
07. Scena 4. Recitativo (Mitrena): “Ecco, fedeli miei”
08. Scena 4. Aria (Mitrena): “Nella stagion ardente”
09. Scena 5. Recitativo (Teutile): “Meno apparati”
10. Scena 5. Aria (Teutile): “L’agonie dell’alma afflitta”
11. Scena 6. Recitativo (Mitrena, Teutile, Asprano): “Figlia, una volta ancora”
12. Scene 6-8. Accompagnato (Mitrena, Teutile) & Recitativi: “Dunque è un errore”
13. Scene 9-10. Accompagnato (Mitrena) & Recitativi (Motezuma, Mitrena): “Ed ho cor di soffrir?”
14. Scena 10. Aria (Motezuma): “Dov’è la figlia?”
15. Scena 11. Coro: “Al gran genio guerriero”
16. Scena 11. Recitativo (Fernando): “Popoli vinti”
17. Scena 11. Coro: “Al gran genio guerriero”
18. Scena ultima. Recitativo (Motezuma, Mitrena, Asprano, Teutile, Fernando, Ramiro): “Seguimi, e non temer”
19. Scena ultima. Coro: “Imeneo, che sei d’amori”
Disc 1
01. MOTEZUMA, dramma per musica in tre atti, RV 723 - Sinfonia: I. Allegro
02. Sinfonia: II. Andante molto
03. Sinfonia: III. Allegro
04. ATTO PRIMO. Scene 1-2. Accompagnato (Motezuma): “Son vinto, eterni dei!” - Recitativi (Mitrena, Teutile, Motezuma)
05. Scena 2. Aria (Motezuma): “Gl’oltraggi della sorte”
06. Scena 3. Recitativo (Mitrena, Teutile): “Oh comando! Oh dovere!”
07. Scena 3. Aria (Mitrena): “Là sull’eterna sponda”
08. Scene 4-5. Accompagnato (Teutile): “Che legge e questa mai!” - Recitativi (Fernando, Teutile, Motezuma, Mitrena, Ramiro)
09. Scena 5. Aria (Fernando): “Dallo sdegno che m’accende”
10. Scena 6. Recitativo (Ramiro, Teutile): “Mirarti appena ardisco”
11. Scena 6. Aria (Teutile): “Barbaro, più non sento”
12. Scena 7. Recitativo (Ramiro): “Infausto di, quante sciagure veggo”
13. Scena 7. Aria (Ramiro): “Tace il labbro”
14. Scene 8-10. Recitativi (Motezuma, Teutile, Ramiro, Fernando): “Numi, se ancor pietosi”
15. Scene 9-14. Recitativi (Fernando, Teutile, Ramiro, Motezuma, Mitrena, Asprano): “Qual silenzio è mai questo?”
16. Scena 14. Aria (Fernando): “I cenni d’un sovrano”
17. Scena 15. Recitativo & Accompagnato (Motezuma): “Confesso: non discerno ove son” - “Ma non s’estingue”
18. Scena 15. Aria (Motezuma): “Se prescritta in questo giorno”
19. Scena 16. Accompagnato (Mitrena): “Parte l’afflitto sposo”
20. Scena 16. Aria (Mitrena): “S’impugni la spada”
21. Scena 17. Recitativo (Asprano): “Non m’avvilisco ancor”
22. Scena 17. Aria (Asprano): “Nell’aspre sue vicende”
Disc 2
01. ATTO SECONDO. Scena 1. Recitativo (Teutile, Asprano): “Vani i consigli sono”
02. Scena 1. Aria (Asprano): “Brilleran per noi più belle”
03. Scene 2-3. Recitativi (Teutile, Fernando, Ramiro): “Principio a respirar”
04. Scena 3. Aria (Ramiro): “Quel rossor ch’in volto miri”
05. Scene 4-5. Recitativi (Mitrena, Fernando, Motezuma): “Fernando, il gran momento s’avvicina fra noi”
06. Scena 5. Terzetto (Motezuma, Fernando, Mitrena): “A battaglia, a battaglia!”
07. Scene 6-7. Recitativi (Ramiro, Asprano, Fernando): “Consolatevi, amici”
08. Scena 7. Aria (Fernando): “Sei troppo, troppo facile”
09. Scena 8. Recitativo (Asprano): “Mi deride, mi sprezza”
10. Scena 8. Aria (Asprano): “D'ira e furor armato”
11. Scena 9. Recitativo (Fernando, Motezuma): “Fermati, non fuggir”
12. Scena 9. Sinfonia per il combattimento
13. Scena 10. Recitativo (Ramiro, Teutile): “Che fate? Ove correte, valorosi guerrier?”
14. Scena 10. Aria (Ramiro): “In mezzo alla procella”
15. Scene 11-13. Recitativi (Teutile, Mitrena, Asprano): “Vanne, crudel!”
16. Scena 13. Aria (Teutile): “Un guardo, oh dio!”
17. Scena 14. Recitativo (Mitrena, Asprano): “Vanne, che vendicata la tua morte sarà”
18. Scena 14. Aria (Mitrena): “La figlia, lo sposo”
Disc 3
01. ATTO TERZO. Scena 1. Recitativo (Ramiro, Fernando): “Esci german”
02. Scena 1. Aria (Fernando): “L’aquila generosa”
03. Scena 2. Recitativo (Ramiro, Motezuma): “Or ch’è salvo il german”
04. Scena 2. Aria (Ramiro): “Anche in mezzo dei contenti”
05. Scena 3. Recitativo (Asprano, Motezuma): 'Eseguite, soldati”
06. Scena 3. Aria (Asprano): “Dal timor, dallo spavento”
07. Scena 4. Recitativo (Mitrena): “Ecco, fedeli miei”
08. Scena 4. Aria (Mitrena): “Nella stagion ardente”
09. Scena 5. Recitativo (Teutile): “Meno apparati”
10. Scena 5. Aria (Teutile): “L’agonie dell’alma afflitta”
11. Scena 6. Recitativo (Mitrena, Teutile, Asprano): “Figlia, una volta ancora”
12. Scene 6-8. Accompagnato (Mitrena, Teutile) & Recitativi: “Dunque è un errore”
13. Scene 9-10. Accompagnato (Mitrena) & Recitativi (Motezuma, Mitrena): “Ed ho cor di soffrir?”
14. Scena 10. Aria (Motezuma): “Dov’è la figlia?”
15. Scena 11. Coro: “Al gran genio guerriero”
16. Scena 11. Recitativo (Fernando): “Popoli vinti”
17. Scena 11. Coro: “Al gran genio guerriero”
18. Scena ultima. Recitativo (Motezuma, Mitrena, Asprano, Teutile, Fernando, Ramiro): “Seguimi, e non temer”
19. Scena ultima. Coro: “Imeneo, che sei d’amori”
Conductor Jean-Claude Malgoire must be kicking himself pretty hard right now. Several years ago, impatient that no trace of Antonio Vivaldi's only opera set in the New World, Motezuma, seemed to be turning up, Malgoire cobbled his own version of the work by pulling together a variety of music from other bits and scraps of Vivaldi and fitting it to the extant libretto. Lo and behold, with the rediscovery of the Berliner Singakademie collection in Russia early in this century, the manuscript of Motezuma is now a known quantity, and it turns out that Malgoire's concoction bears no resemblance whatsoever to it. Nonetheless, even he has to be grateful that this extraordinary score has been located, and now, recorded by Alan Curtis and Il Complesso Barocco on the Archiv Produktion release Vivaldi: Motezuma.
Naturally, it is less than common for even extant vintage 1733 Italian operas to come down in their entirety, and Curtis, working with editor Alessandro Cicciolini, has filled in the blanks with some related material of Vivaldian provenance and composed some fresh recitatives. It all fits together very well, and provides a sense of stylistic continuity, rather than that of pastiche as might normally be expected. None of the singers here are particularly well known, but it is still a first-rate cast; particularly strong is baritone Vito Priante, who has the title role, and as is common in Vivaldi, therefore not very much of the music. Spanish mezzo-soprano Maite Beaumont, who performs the pants role of Fernando (i.e., Hernando Cortez), is a real find, a singer who can perform Vivaldi's sometimes insane vocal acrobatics and yet impart a good deal of characterization to her part.
Motezuma is rich with features that are exceptional for Baroque opera. In listening to a work of this kind, the music is generally the main point of focus rather than the action or story, as the libretti of most Baroque operas are generally not very compelling. Motezuma is different in that one actually is drawn into the tale being told, and Vivaldi supplies an ample amount of text-painting and visualization in his bold, powerful, and rhythmic score. This performance of Motezuma is a bit more restrained than Fabio Biondi's 2005 recording of Vivaldi's opera Bajazet on Virgin Classics, and while the sheer volume of rapid-fire, virtuosic singing on that incredible set is not as much an ingredient here, the dramatic interest more than makes up for it. Il Complesso Barocco does a great job on all fronts; the natural horns and trumpets used in the Act II battle music for the fight between Motezuma and Fernando is a special treat.
Vivaldi's Motezuma is a discovery of pressing urgency, as this might well have been his greatest contribution to opera. As an experience for the listener, however, one need not make allowances for the conventions of another era in order to enjoy Archiv's Vivaldi: Motezuma, as the work, performance, and packaging, which includes the complete libretto in English, is perfectly comprehensible and coherent in its own right. ~ Dave Lewis
Naturally, it is less than common for even extant vintage 1733 Italian operas to come down in their entirety, and Curtis, working with editor Alessandro Cicciolini, has filled in the blanks with some related material of Vivaldian provenance and composed some fresh recitatives. It all fits together very well, and provides a sense of stylistic continuity, rather than that of pastiche as might normally be expected. None of the singers here are particularly well known, but it is still a first-rate cast; particularly strong is baritone Vito Priante, who has the title role, and as is common in Vivaldi, therefore not very much of the music. Spanish mezzo-soprano Maite Beaumont, who performs the pants role of Fernando (i.e., Hernando Cortez), is a real find, a singer who can perform Vivaldi's sometimes insane vocal acrobatics and yet impart a good deal of characterization to her part.
Motezuma is rich with features that are exceptional for Baroque opera. In listening to a work of this kind, the music is generally the main point of focus rather than the action or story, as the libretti of most Baroque operas are generally not very compelling. Motezuma is different in that one actually is drawn into the tale being told, and Vivaldi supplies an ample amount of text-painting and visualization in his bold, powerful, and rhythmic score. This performance of Motezuma is a bit more restrained than Fabio Biondi's 2005 recording of Vivaldi's opera Bajazet on Virgin Classics, and while the sheer volume of rapid-fire, virtuosic singing on that incredible set is not as much an ingredient here, the dramatic interest more than makes up for it. Il Complesso Barocco does a great job on all fronts; the natural horns and trumpets used in the Act II battle music for the fight between Motezuma and Fernando is a special treat.
Vivaldi's Motezuma is a discovery of pressing urgency, as this might well have been his greatest contribution to opera. As an experience for the listener, however, one need not make allowances for the conventions of another era in order to enjoy Archiv's Vivaldi: Motezuma, as the work, performance, and packaging, which includes the complete libretto in English, is perfectly comprehensible and coherent in its own right. ~ Dave Lewis
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