Arcana
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A wonderful introduction to the music of de Wert. The performances are clear, with fine diction and a nice sense of the various rhythmic nuances. The instrumental portions never disturb, but... — More…
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JS Bach: Sei Suonate À Cembalo Certato E Violino Solo Chiara Zanisi (violin) & Giulia Nuti (harpsichord)
This is indeed very beautiful. Their starting point has been the belief that Bach’s music has both an aura of magic and an almost divine form, and the translation of that into performance has... — More…
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Vistoli’s supple facility for rapid passagework is to the fore in ‘ Torno ai ceppi’ from Sarro’s Arsace…Aside from some momentary imperfections in the strings’ intonation, the youthful ‘volcanic... — More…
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This recording indicates he is the master of this Walter replica, fully exploiting its potential. Cascioli’s phrases are inevitably shapely. He never rushes embellishments, always giving them... — More…
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Frescobaldi: Toccate d'intavolatura di cimbalo et organo, libro primo (Rome, 1637) Rinaldo Alessandrini (harpsichord, organ)
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Grandi: Laetatus sum - Vesper Psalms
Accademia d'Arcadia, UtFaSol Ensemble and Alessandra Rossi Lürig
Lürig’s singers tend to sound slightly nasal (particularly among the tenors) but it’s a bright, buzzy, Italianate sound that’s entirely in sympathy with the repertoire. — More…
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Amor tiranno Broken-hearted Lovers in Seventeenth-Century Venice
Carlo Vistoli (countertenor), Sezione Aurea, Filippo Pantieri
Vistoli brings bittersweet theatricality to Apollo’s sorrow upon Dafne metamorphosing into a laurel (Cavalli’s Gli amori d’Apollo e di Dafne) and Diomede’s misogynistic rant (Sacrati’s La finta... — More…
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