Offer,Francesco Cavalli: Il Giasone

Valer Sabadus (Giasone), Kristina Hammarström (Medea), Kristina Mkhitaryan (Isifile), Raúl Giménez (Egeo), Willard White (Oreste & Giove), Dominique Visse (Delfa & Eolo), Mariana Flores (Alinda), Mary Feminear (Amore)

Cappella Mediterranea, Leonardo Garcia Alarcón (conductor)

The effect is boisterous, exuberant and just a little too much…A top-notch cast really savour the score’s lyricism, balancing all the cross-dressing camp with something disarmingly heartfelt.... — Gramophone Magazine, May 2019 More…

Release Date: 22nd Feb 2019
Catalogue No: ALPHA718
Label: Alpha

International Classical Music Awards

2019

Nominee - Video Performance

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Cavalli: Il Giasone

Valer Sabadus (Giasone), Kristina Hammarström (Medea), Kristina Mkhitaryan (Isifile), Raúl Giménez (Egeo), Willard White (Oreste & Giove), Dominique Visse (Delfa & Eolo), Mariana Flores (Alinda), Mary Feminear (Amore)
Cappella Mediterranea
Leonardo Garcia Alarcón (conductor), Serena Sinigaglia (director)

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This production of Francesco Cavalli’s Il Giasone was filmed in January 2017 at the Grand Théâtre of Geneva. It forms a part of the ‘Cavalli tetralogy’ of the past few years, conducted by the man who has become Cavalli’s great ambassador: Leonardo Garcia Alarcón . Il Giasone, Dramma musicale, in a Prologue and Three Acts, first performed on 5 January 1649, alternates the tragic with the comic, with no concern for fidelity to the mythological legend of Jason and Medea. Francesco Cavalli’s opera, composed for the carnival season in Venice, presents a mosaic of contrasted episodes, rich in musical emotions. His music here attains a remarkable degree of evocative power, with la musica having the upper hand over la dramma. Il Giasone represents the subtle equilibrium between lyricism and narrative. The comic, the tragic, and the supernatural all meet and mingle, and Cavalli’s Lamenti – forming the climax of the work – are particularly unequalled. Resolutely burlesque and zany, Serena Singaglia’s production celebrates the opera’s sensuality. Le Temps commented: ‘In the pit, the Cappella Mediterranea with Garcia Alarcón pursue a sense of musical flux with delicacy, lightness and quick-footedness, ideally responding to the score’s demands. With an instrumental sound that is both round and sprightly, they succeed in capturing the ludic dimension of the work, its melodic freshness, and its harmonic tensions. Drama and rapture are artfully fused together.”

With English, French and German surtitles

Reviews

May 2019

The effect is boisterous, exuberant and just a little too much…A top-notch cast really savour the score’s lyricism, balancing all the cross-dressing camp with something disarmingly heartfelt. Sabadus is well cast…he’s the embodiment of vacillating, soft-focus sensuality…Dominique Visse is an irrepressible Delfa…Sinigaglia’s production is Cavalli at play, an unruly Babel of sensation.

July 2019

In what is a highly physical and equally highly sexual production, there’s lots of male bonding and a good deal of bromantic behaviour. What hampers the clever visuals, however, is the poor definition of the filming. But all the performances are full of personality, with the participants clearly understanding and able to reflect the complex shifts of circumstance that underlie the plot…at the centre is Valer Sabadus as Jason, his sweet, limpid countertenor delicately voicing some memorable arias and duets.

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Offer,Francesco Cavalli: Il Giasone

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