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Hyperion Records

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Track(s) taken from CDA67225
Recording details: June 2000
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell & Julian Millard
Release date: March 2001
Total duration: 6 minutes 8 seconds

'An excellent release … Robin Blaze’s clear, pure countertenor is the ideal voice for these pieces, and he sings them with impressive authority. Pick of the month' (BBC Music Magazine)

'The intrinsic qualities of this little-explored repertoire and Blaze’s musicianship mark this as an important release' (American Record Guide)

'Blaze is at his most impassioned and convincing … this disc will add to our understanding and love of this treasure house' (International Record Review)

'It is a rare thing to reach the end of a long program like this wanting more, yet that’s exactly what happened to me in this instance. All readers are urged to investigate a remarkable disc that is assured of being an exceptionally strong contender for the Want List' (Fanfare, USA)

'Robin Blaze has justifiably moved quickly into the elite of counter-tenors. Not only is he convincing vocally but his interpretative instincts are sound' (Cathedral Music)

'I would recommend this disc to anyone with a love for baroque vocal music' (MusicWeb International)

'An appealing concert of Venetian sacred music … as always with Hyperion, gorgeous sound' (Early Music)

Salve regina
composer
1647; Motetti concertanti, Op 10
author of text
Antiphon to the Virgin Mary from Trinity until Advent

Introduction  EnglishFrançaisDeutsch
In Rovetta’s setting of the Salve Regina the instruments have a modern role, accompanying the voice as well as alternating with it, creating rich and sensuous textures. Not surprisingly, this fine piece found its way to northern Europe: a version of it wrongly ascribed to Franz Tunder was copied for the Swedish court as ‘Salve mi Jesu, pater misericordiae’ – a text suitably purged of Marian sentiments for Protestant sensibilities. Rovetta was a Venetian, and spent his entire career at St Mark’s, succeeding Monteverdi as maestro di capella in 1644.

from notes by Peter Holman © 2001

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