Viaggio Musicale

Editorial Reviews
Amazon.com
Baroque ensemble Il Giardino Armonico take a step away from Bach, Biber, and Vivaldi to create this intriguing disc of lesser-heard 17th century compositions from Italy. These short instrumental pieces--Dario Castello's Sonata IV is the longest, at over seven minutes, while Monteverdi's Sinfonia de Il ritorno d'Ulisse in Patria clocks in at under a minute--were all composed during the era of Monteverdi's operatic output, and they each seem to mimic the drama and intonation of the human voice. But the young ensemble's creative programming doesn't stop in the selection of compositions. This disc seamlessly melds Tarquino Merula's multilayered Ciaccona to a harpsichord improvisation (there are also wonderful improvisations for solo lute and violin scattered about the disc). From the jazzy opening of Uccellini's weird Aria sopra "la Bergamasca" for flute, cello, harp, and citerone to the slow-paced melancholy of Giovanni Battista Riccio's Sonata a 4, there's a treasure trove of great Baroque music here. These left-field works sound completely fresh and vibrant, a testament both to the composers and the sprightly playing of Il Giardino Armonico. Highly recommended. --Jason Verlinde

Amazon.com

Baroque ensemble Il Giardino Armonico take a step away from Bach, Biber, and Vivaldi to create this intriguing disc of lesser-heard 17th century compositions from Italy. These short instrumental pieces--Dario Castello's Sonata IV is the longest, at over seven minutes, while Monteverdi's Sinfonia de Il ritorno d'Ulisse in Patria clocks in at under a minute--were all composed during the era of Monteverdi's operatic output, and they each seem to mimic the drama and intonation of the human voice. But the young ensemble's creative programming doesn't stop in the selection of compositions. This disc seamlessly melds Tarquino Merula's multilayered Ciaccona to a harpsichord improvisation (there are also wonderful improvisations for solo lute and violin scattered about the disc). From the jazzy opening of Uccellini's weird Aria sopra "la Bergamasca" for flute, cello, harp, and citerone to the slow-paced melancholy of Giovanni Battista Riccio's Sonata a 4, there's a treasure trove of great Baroque music here. These left-field works sound completely fresh and vibrant, a testament both to the composers and the sprightly playing of Il Giardino Armonico. Highly recommended. --Jason Verlinde

Customer Reviews:

Exceptional recording - full marks to all concerned.......2003-08-11

Do not listen to any unfavourable reviews of this album - it is simply one of the best of its kind.
The violin, recorder, cornett, mute cornett, dulcian,lute, harpsichord and cello playing is first rate, imaginative and daring. All of the music on this recording is wonderfully alive and vibrant. The violin playing is particularly good and the two mute cornetts and dulcians in the Riccio Sonata A 4 make soft and sensual sounds - unlike anything you'll ever hear from later Baroque music.

Every lover of Early Baroque instrumental music should investigate this fabulous disc.

Luminous, radiant and colourful !!!.......2003-07-20

I can't understand the one star critic made by "a music fan from Italy". He said and I quote : " Every piece of music can become banal in the hands of "Il giardino armonico".

I am surely dreaming.

All the recording by this little ensemble are far away from banality. Sometimes deranging and extravagant, they gave to the listener real pleasure because they are playing without any formal constraint. The contrast and the diversity that whe can heared in their recording is the main mark identification of their ORIGINALITY.

Enrico Onofri is brilliant as usual on the violin. All the musicians plays with vigour.

Of couse, this is quiet music. Don't wait for little tornado like it was the case in the "Seasons" or in "La Notte". This is almost charming music with some moments of great intensity.

I owned already most of the music recorded there with "La sonatori de la Gioisa Marca"( two albums on Divox Antiqua- with bad sound- sold at high prices with a lot of rewards from the press...)

Nevertheless, I prefer this recording. Sound is suberb and the music is played by very talentuous musicians. From my heart, 5 stars.

bad taste.......2003-02-10

Every piece of music can become banal in the hands of "Il giardino armonico". We already know all the cheap tricks that made this group famous: sudden dynamics changes, bizarre rhythmical choices & tempos, and ugly sounds in search of an improbable Italian early baroque authenticity. I would like to point out here the very poor conception of phrasing shown by the violin and recorder, very short phrases without any idea of the piece as a whole, with a particular attention given to frequents distasteful effects, as for example in the Cima sonata (recorder and BC), where every cadence resolution is preceded by a disturbing interruption (ups, I got there too early), and in the unnecessary display of aimless virtuosity in Rognoni's variation of "vestiva I colli", knowing well the piece I have to point out I'm deeply conviced that the tempo should be slower and the overal caracter very melancolic. The violin playing is particularly weak, from a sound production point of view, please notice the trembling pianissimos, and the lack of colors in the sound itself and constant interruption of the melodic line (ups the jumping bow its alive!) . A high peak of poor taste in cd is Ucellini's La Bergamasca, where once again we are just abused with this kind of annoying cartoon music. The only good things I can say about the cd are about the fine playing of the cornettos (Jean Tubèry,Gebhard David), dulcian (alberto Guerra), and viola da gamba (Vittorio Ghielmi), so bad that the main part of the group (recorder,violin, lute) didn't listen to them, may be they would had learn something.

Il Gardino Armonico Viaggio Musicale.......2001-01-20

Magnificent, the arrangement and interpretation! Italy and the 'Seicento' is arising. I recommend it for times with a glimpse of happiness.

Average customer rating:

Five stars for Yu Qiang Dai
Alagna the Over-rated -- He's fine for the deaf!
Alagna brings verismo favorites and rarities to 'real life'
5 for Variety 3 for Voice
What a cool recital!

Nessun Dorma; Roberto Alagna
Ermanno Wolf-Ferrari , Mark Elder , Roberto Alagna , London Voices , Ruggiero Leoncavallo , and Orchestra of the Royal Opera House - Covent Garden
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
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ASIN: B0000DD76K
Release Date: 2003-10-21

Tracks:

Nessun Dorma!
Colpito Qui M'avete...Un Di All'azzurro Spazio (Improvviso)
Come Un Bel Di Di Maggio
Quando A Solden
Giulietta, Son Io
Non Parlate Cosi...Io Non Ho Che Una Povera Stanzetta
Musetta! O Gioia Della Mia Dimora!...Testa Adorata
Cielo E Mar!
Comare Lola...Viva Il Vino Spumeggiante
Mamma! Quel Vino E Generoso
La Dolcissima Effigie Sorridente
L'Anima Ho Stanca, E La Meta E Lontana
Dammi Un Amore Selvaggio E Ribelle
Che Piu Mi Resta! Tu Sola A Me Rimani
E Un Riso Gentil Qual'alba D'April
Mai Piu, Zaza, Raggiar Vedro
Tornato E Maggio Dopo Lungo Viaggio
Amor Ti Vieta
Un Orso In Musoliera Innamorato
Nessun Dorma!...O Sole! Vita! Eternita!

Amazon.com

Here Roberto Alagna takes on verismo arias, works which require a type of exclamatory delivery very unlike arias from the bel canto period or the French repertoire. The danger for any tenor in this music is overstatement and oversinging - passions run high in this music, and the orchestral accompaniment is big and aggressive. Alagna is, for the most part, remarkably successful, bringing interesting nuances to even the most familiar of the arias ("Nessun dorma," "Cielo e mar") and making a fine case for a beautiful, sad aria from Zandonai's Giulietta e Romeo and painting a vivid portrait of the drunken title character from Wolf-Ferrari's Sly. He occasionally sings sharp: a phrase or two at the close of Turiddu's "Addio" from Cavalleria and every so often in the otherwise mellow "Amor ti vieta." But this recital never bores or tires the listener, and there's a good chance that Alagna is finally living up to his reputation as "the fourth tenor." This is terrific, and worth repeated hearings. --Robert Levine

Customer Reviews:

Five stars for Yu Qiang Dai.......2005-01-28

It was a big shock to hear Yu Qiang Dai's debut cd. He is, I think, the best lirico-spinto tenor nowadays. He has a lovely voice, which is very well produced. The center is wonderful, the lower notes are good, the high notes are shining and of fantastic quality... the singing through the passage is very well handled. He is an itelligent musical interpreter and singer, with an interesting and appealing line and sense of style. Very good dynamic changes. He offers some of the absolutely best renditions of some arias (nessun dorma and cielo e mar, for example) that I have heard in many years.
He still has to work his Italian (specially the consonants) and his French. But there were great historical tenors with bigger idiomatical problems.

Despite taking spinto repertoire, Yu never pushes, never tries to make the voice sound darker than it is, everything is always under control, and he takes the chance to give very stylish renditions (for example, of una furtiva lagrima), which is strange for tenors who "want to sing spinto".

The tenor is a fantastic discovery, one of the best ones around. Actually, all my criticism goes to EMI and the production of the CD: no choirs, no solists (for example, for the aria of Cavalleria, where the mother should sing her line), and the acoustic "atmosphere" has made some people to doubt if Yu's voice is really as big as it seems (people who saw his Cavaradossi at Covent Garden say that it is very big, actually).
Not a the best production job by the people of EMI, but five stars (ten if possible) for the singer. Simply wonderful.

Alagna the Over-rated -- He's fine for the deaf!.......2004-12-18

For Heaven's sake, it is ludicrous to compare Alagna -- who has talent but is NOT one of the "greats" -- to the likes of Jussi Bjorling or Domingo. The only reason other reviewers are impressed by this recording is because they haven't heard these arias sung by other, better tenors. First of all, Alagna is a lyric tenor, not a dramatic tenor, and his voice simply isn't big enough to handle the material without displaying a highly unattractrive raspiness, almost a bleating sound, on virtually every aria on the disc. How come no one noticed it (or did his fans simply choose to ignore it)? Alagna can be expressive in his singing, and I have no quibbles with the orchestra or conductor, but this vocal rasp or near-choke hardly makes this CD a listening pleasure for the discerning opera fan. Mario Del Monaco, who had the right dramatic voice for this material, recorded an album of "Verismo" arias which is available on CD and shows how these works should be sung -- with great dramatic power and vitality, not to mention ringing high notes. Alagna hits the high notes, but they are hardly "ringing." This CD demonstrates all too aptly why Alagna has never really caught on with serious and discriminating, knowledgeable opera fans who are familiar with many different tenors of the classic period. Alagna is one of the most over-hyped singers of his generation.

Alagna brings verismo favorites and rarities to 'real life'.......2004-03-21

The composers of the verismo school made it their mission to take opera away from the gods, royalty and nobles which it had exclusively depicted in the previous centuries and to finally have it concern people who lived 'real lives.' Unfortunately, too many opera fans and performers - especially tenors - make the mistake of assuming that the intense passions and 'crude realism' depicted by these composers is a license for excessive sobbing, gulping, screaming, macho posturing and other inartistic distortions of the music and drama. Roberto Alagna doesn't. What is so wonderful about his new disc of verismo arias is that none of what he sings is here merely a 'tenor showpiece'. His emotion is absolutely genuine, never 'look at me emote!'. He is always totally in tune with the dramatic situations, and serves them with a wide palette of tonal colors and vivid word-painting made even more intense by the clarity of his Italian diction, as superb as his native French. Although he has plenty of power and drama when required, more often he sings sweetly, smoothly, gently, and lyrically, even in the heaviest repertory. Best of all, Alagna's recent tendency to overuse the darker, rougher sides of his voice in recordings of Italian works has disappeared. This CD is his best work in that language and his singing here bodes extremely well for his future live excursions into these roles.

The title track 'Nessun Dorma' sets the stage for much of what follows. I can think of no higher praise than to say that it recalls that of Jussi Bjorling. Although Alagna doesn't have Bjorling's blazing voice and unsurpassable tonal beauty, he provides just as much sensitivity, nuance, and soft singing - this is a young man in love with a beautiful princess, not a soccer fan. His Andrea Chenier truly is a poet - youthful, passionate and desperate, and is Loris is equally impressive. Turridu in 'Cavalleria Rusticana' is surely an ideal vehicle for this tenor of Sicilian parentage, with his high spirits and smile in the voice for the drinking song turning serious and repentant for 'Addio alla madre'. For Enzo in 'La Gioconda', Alagna's 'Cielo e mar' is thoughtful and introspective, with a gorgeous diminuendo on 'O sogni d'or'. And what a joy to have Maurizio in 'Adriana Lecouvreur' sung by such a beautiful lyric voice, especially with more lovely pianissimo singing in 'L'anima ho stanca'! Can we hope for at least a live performance of the complete opera with his wife Angela Gheorghiu, who would be ideal in the title role?

Of course, any CD project Alagna undertakes will include a high percentage of rarities, and the very best of these are 'variations on a theme' to operas that Alagna is already famous for singing. Many consider his greatest role to be Romeo in Gounod's 'Romeo et Juliette', so it is no surprise that he is just as moving a Romeo in the tender and passionate tomb scene from Zandonai's 'Giulietta e Romeo'. In going from Puccini's version of 'La Boheme' to Leoncavallo's, Alagna switches from Rodolfo to Marcello, who is the tenor lead in this version. Having heard this opera in its entirety, I had originally thought that it was interesting but clearly inferior to the Puccini. Now I'm beginning to think all it needs is the right cast! More Leoncavallo rarities show Alagna at his most lighthearted and ebullient, even while playing some rather unsympathetic characters, from the feckless, selfish prince in 'I Zingari' to the married man having an affair with the title character in 'Zaza'. But in the wonderful 'Tu sola a mei rimani, poesia' from 'Chatterton', written by Leoncavallo when he was 17, Alagna is once again a heroic figure unlucky in love.

The 'Song of the Bear' from Wolf- Ferrari's 'Sly' is another triumph. Alagna darkens his tone to a rich bronze to become both the drunken poet of the title and his alter ego, the pathetic, lovestruck performing bear. He even improvises a delightful growl after 'voglio l'orsa!' ('I want the she-bear!'). Giordano's 'La Cene della Beffe' with its tale of a tenor jester's terrible revenge, would be a superb stage vehicle for Alagna's considerable dramatic talents, although here we only hear the character sweetly serenading about love in springtime. It is also nice to hear 'Quando a Solden', Hagenbach's anguished apology to the title character from Catalani's 'La Wally', an opera known mainly for the soprano aria 'Ebben? Ne andro lontano'.

The only problem I have with this disc, and I considered but decided against deducting the final star because of this, is that at least in the familiar selections I find conductor Mark Elder's tempos a little too slow. Although this allows Alagna to be at his most expressive, it takes away from the drama and urgency that is so necessary in this music. The Covent Garden orchestra does their usual splendid job, as does London Voices in their choral contribution, and Marianne Coterill and Tasmin Dalley are fine as Lola and Mamma Lucia. In addition to a wonderful background essay by John Steane, the documentation includes full texts and translations and - FINALLY - a biography of Alagna, as well as one of Elder.

I hope Alagna will get the opportunity to perform much of this material on stage, especially the rarities, although it might be best to limit his appearances in these roles to small theaters. Although Alagna has recently left EMI to go freelance, I am sure we will hear and see more of him in this and other interesting repertory - especially as he wants all his roles on DVD. Until then, "Nessun Dorma" is an ideal showcase for the marvelous voice and adventurous spirit of one of the greatest tenors of our day.

5 for Variety 3 for Voice.......2004-03-19

First off I think that it is really awesome that Roberto Alagna is recording rare works. On the flip side of that coin I dont really see how his voice can last through much more.
It is very clear that Alana should not really touch Verismo. I don't say this to be cynical or dismissive, he just goes very sharp and shows alot of force. The voice is very comfortable in French lyric Rep. When building a carrer, I think, a singer must find what his voice natually tends to and build around that. Certainly you can test and push boundaries, but If you make it your whole life pushing boundaries, than the voice breaks down. A similar fate befell Carreras, Di Stefano and many other singers. When I say that he should not touch verismo, I don not say that he brings nothing to the table, but that his voice does not have squillo and he goes very sharp when he hits high notes under stress, a sign of forcing. There is no squillo in his tone or dramatic declamation, and he has picked up the odd habit of scooping to seeminly every higher note.

The real positive is the interpretative ability, it is clear that Alagna is really thinking about each note, expecially in his excellent stuff from Cavalleria. I really enjoyed the Aria from sly, and listen to it more than most of the other tracks combined. Overall this is a good buy for some arias that you probably havent heard before.
I am not suggesting that roberto Alagna will ruin his voice. I am suggested that he is slowly beating the bloom out of his high notes, and taking the flexibilty and bright color by doing many artificial things in heavier rep.
So although I enjoyed this disc, and would recommend its purchace, I don't think it is the idiomatic verismo voice that one might expect in a verismo recital disc.

What a cool recital!.......2004-02-18

After a downright magnificent account of Berlioz, Roberto Alagna ventures into an equally demanding world of verismo. With Ruggero Leoncavallo most prominently featured, a wealth of material abounds.
Some of the grounds covered here were recently treaded by Argentinean tenor José Cura. I would venture to say that while Cura's recital was unusual and interesting, the CD at hand provided a lot more exciting moments in its 65-min time span save for the double-take of "Nessun Dorma." (the "updated" version would be welcome on another disc, I don't believe we need to have them both here for contrast).
Alagna's matured tenor is remarkably agile and the top notes are very secure. Even the rare sharps don't sound out of place. While there is an occasional unsteadiness in upper range, he makes up for it by a strong attack and seemingly endless breath span. He is also able to infuse a little sob when called for - some argue that this sob and not a hair more is what verismo demands. Such treatment of little known aria from Zaza "mai piu, Zaza, raggiar vedro" brought to mind young Carreras on his extremely rare Philips album. It's really a heart-gripping piece and it's a shame that a full recording of the opera is not available. Aside from this brief comparison, I wish Mr. Levine et al would stop the senseless references to the "4th tenor". The only "package" deal that Alagna participates in is with the missus - soprano Angela Georghiu. I sincerely hope he would not ever consider forming another duo or trio and ever venturing into pop. It's better to be a leader than a follower, even if the latter approach makes more money.
With his latest two CDs, Alagna shines as a pioneer of wonderful, but forgotten material. I have little doubt that composers such as Zandonai and Franchetti just found legions of fans thanks to this recital. I hope to be treated to a full recording soon!

Cantate Domino: Motetti e Sonate del Seicento Veneziano

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Cantate Domino: Motetti e Sonate del Seicento Veneziano

Manufacturer: Tactus Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B00019JQ7I
Release Date: 2004-02-03

Girolamo Frescobaldi: Il Primo Libro delle Canzoni, Vol. 1

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Girolamo Frescobaldi: Il Primo Libro delle Canzoni, Vol. 1
Girolamo Frescobaldi (Composer) , and Il Viaggio Musicale (Original Instrument Ensemble)
Manufacturer: Bongiovanni
ProductGroup: Music
Binding: Audio CD
ASIN: B00008ESK9
Release Date: 1994-01-04

Orlandini: Il Marito Giocatore e la Moglie Bacchettona (1719) / Bares

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Orlandini: Il Marito Giocatore e la Moglie Bacchettona (1719) / Bares

Manufacturer: bongiovanni
ProductGroup: Classical
Binding: Audio CD
ASIN: B000KADJ12

Product Description

Bongiovanni 2198 (1996) DDD - Total Time 64:04 ~~~ Orlandini staged this intermezzo in 1715 as "Bacocco e Serpilla" and at other times under other titles. ~~~ Also on this CD are arias from Orlandini's opera "La Griselda" (1720)

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