[Cover graphic]

Compact Disc CDA67617

£13.99


Stradella was murdered in Genoa when he was forty-two years old. Until then he enjoyed a dazzling career as a freelance composer, writing on commission, collaborating with distinguished poets, producing over three hundred works in a variety of genres. His musical style is distinctive, characterized by fluid lines, great skill in counterpoint, and harmony which was tonal but which occasionally offers chords that were unusual then and striking even today.

The oratorio San Giovanni Battista was written for performance on Palm Sunday in the Holy Year of 1675 where some fourteen oratorios were commissioned by the confraternity of the church of San Giovanni dei Fiorentini in Rome – an auspicious event. San Giovanni Battista is a deeply ‘Baroque’ score, vibrant, rhythmically insistent, requiring singers to perform phrases of difficult fiorituras or deeply moving legato lines. The libretto is dramatic and emotionally vivid, and the music is closely tied to the text, creating a distinctly operatic atmosphere—described by the disc’s conductor Alessandro De Marchi as ‘a true Salome’.

Hyperion is delighted to announce a new recording relationship with Academia Montis Regalis, of which this disc is the first fruit. The group’s previous recordings on French label Opus 111 have won many international awards. The Academia Montis Regalis Foundation started its courses in Baroque and Classical orchestral training in the town of Mondovì in 1994. The aim was to offer young Italian and foreign musicians interested in the seventeenth- and eighteenth-century repertoire the opportunity to engage in a unique experience. Thus was born the Academia Montis Regalis, a period instrument orchestra that has been regularly directed by leading international early music specialists since the year of its foundation, including Ton Koopman, Jordi Savall, Christopher Hogwood, Reinhardt Goebel and many others. The principal director has for some years been Alessandro De Marchi, who has overseen an important project with the Academia Montis Regalis, recording all of Vivaldi’s manuscripts preserved in the National Library of Turin. Right from the start the training programme was accompanied by highly successful concert performances. Today the orchestra is a professional ensemble with a solid international reputation.


Recorded in Oratorio Santa Croce (Sala Ghislieri), Mondovì, on 28–31 March 2007
Recording Engineer
DAVE HINITT
Recording Producer
MARK BROWN
Booklet Editor
TIM PARRY
Front Picture Research
RICHARD HOWARD
Executive Producer
SIMON PERRY
© Hyperion Records Ltd, London, MMVIII

Duration: 77'34
DDD
Front illustration: Head of John the Baptist. Spanish School, 18th century

San Giovanni Battista

Oratorio à soli con stromenti (Rome, 1675)

Salome ANKE HERRMANN soprano
San Giovanni Battista MARTIN ORO countertenor
Herode ANTONIO ABETE bass
Consigliere FREDRIK AKSELBERG tenor
Herodiade ELENA CECCHI FEDI soprano

ACADEMIA MONTIS REGALIS
ALESSANDRO DE MARCHI conductor


Contents:

  1. PRIMA PARTE Sinfonia a 3 W-K30 (LELIO COLISTA, 1629–1680) [3'02]
  2. Sinfonia [2'10]
  3. RECIT Amiche selve — Aria SAN GIOVANNI Deste un tempo [1'43]
  4. RECIT Selve beate — Coro Dove, Battista? — Recit Alla corte [1'26]
  5. ARIA SAN GIOVANNI Soffin pur, rabbiosi fremiti [1'52]
  6. RECIT Restate — Madrigale Dove, Battista, dove? [1'41]
  7. Sinfonia (CARLO AMBROGIO LONATI, c1645–c1710/15) [1'23]
  8. RECIT Invitto Herode [1'01]
  9. ARIA HERODIADE Volin pure lontano dal sen [4'30]
  10. RECIT Sì, sì dei tuoi divoti — Aria CONSIGLIERE Anco in Cielo [1'46]
  11. RECIT Ma poi lasciando [1'07]
  12. ARIA SALOME Sorde dive [4'20]
  13. RECIT Non più cedo — Trio Non fia ver — Recit Non più, ferma [5'41]
  14. ARIA HERODE Tuonerà tra mille turbini [3'46]
  15. ARIA / QUARTET SAN GIOVANNI / SALOME, HERODIADE, CONSIGLIERE, HERODE S’uccida il reo [2'27]
  16. RECIT Proverà se questo Scettro [0'54]
  17. DUET SALOME, HERODE Freni l’orgoglio [2'24]
  18. SECONDA PARTE Sinfonia a 3 W-K32: Adagio (LELIO COLISTA) [1'38]
  19. ARIA SALOME Vaghe ninfe nel giordano [2'28]
  20. RECIT Giorno sì lieto — Aria CONSIGLIERE Anco il sol [1'39]
  21. RECIT O di questi occhi miei [2'06]
  22. ARIA SAN GIOVANNI Io per me non cangerei [3'51]
  23. RECIT Figlia, se un gran tesoro [3'51]
  24. DUET SALOME, HERODE Nel seren de’ miei contenti [2'08]
  25. RECIT Deh, che più tardi a consolar [1'57]
  26. ARIA SALOME Queste lagrime e sospiri [3'08]
  27. RECIT In questa dei miei affetti — Aria HERODE Provi pur le mie vendette [2'54]
  28. RECIT Il castigo d’un empio — Duet SALOME, SAN GIOVANNI Morirai! Uccidetelo pur! [2'46]
  29. Sinfonia a 3 W-K32: Largo (LELIO COLISTA) [0'45]
  30. RECIT Cadesti alfine — Aria SALOME Sù coronatemi [3'10]
  31. RECIT Chi nel comun gioire [1'44]
  32. DUET SALOME, HERODE Che gioire, che contento [1'32]
  33. Sinfonia a 3 W-K32: Allegro (LELIO COLISTA) [0'34]
Sleeve Notes


THE OBSERVER CD OF THE WEEK


'When you learn that Handel owned an early copy of the manuscript all the pieces begin to fall into place; here is a perfect example of the Italian manner that was to influence him so fundamentally … Each soloist is given masses of opportunity to display their bravura technique, both as individuals and jointly, when they comment on the action in some lovely choruses and madrigals … De Marchi really scores in his choice of soloists. Salome is sung by the exquisite soprano Anke Herman, Battista by the firm-voiced countertenor Martin Oro and the court counsellor by the excellent tenor Fredrik Akselberg, but the star of the disc is the bass Antonio Abete who as Herod thunders through some truly stunning arias' (The Observer)

'Stradella is probably more famous for having been murdered … than for his music. That's a pity, for the latter, vital, free-flowing and bold, is well worth exploration. The oratorio San Giovanni Battista, composed in 1675, is one of his finest works, a thrilling drama calling for virtuoso singing of the highest order. The Academia Montis Regalis's playing is wonderfully alive' (Sunday Times)

'Stradella's score, characterized by constant variety, is ravishing throughout … The whole band plays with tremendous panache and stylistic aplomb' (International Record Review)

'The performance is very good, with some superb singing and great playing - the contrast between the concertino group and the orchestral tutti is very dramatic' (Early Music News)

'In dichten 88 Minuten spult Stradella mit großen dramatischen Effekten, hinreißenden Chorälen und brillanter Orchestrierung die Geschichte von Johannes dem Täufer und die Liebe zu Salome' (Musik/Klassik/Neuerscheinungen)


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