Bo Holten: Gesualdo Shadows
a modern baroque opera
Gert Henning-Jensen (Carlo Gesualdo), Tor Lind (Shadow), Guideo Paevatalu (Duke Alfonso af Ferrara), Hanna Kappelin (Maria d’Avalos), Ann-Christine Wesser Ingels (Léonora d’Este), Jesper Buhl (Fontanelli)
Musica Ficta, Concerto Copenhagen, Bo Holten, Deda Cristina Colonna
Writing about music is dangerous, especially in the theatre. Holten doesn’t just neutralise the problem; he gives his opera all its charm by rooting it in the music in question…As usual, Henning-Jensen...
Bo Holten: Gesualdo Shadows
a modern baroque opera
Gert Henning-Jensen (Carlo Gesualdo), Tor Lind (Shadow), Guideo Paevatalu (Duke Alfonso af Ferrara), Hanna Kappelin (Maria d’Avalos), Ann-Christine Wesser Ingels (Léonora d’Este), Jesper Buhl (Fontanelli)
Musica Ficta, Concerto Copenhagen, Bo Holten, Deda Cristina Colonna
Purchase product
Writing about music is dangerous, especially in the theatre. Holten doesn’t just neutralise the problem; he gives his opera all its charm by rooting it in the music in question…As usual, Henning-Jensen...
About
The conductor and composer Bo Holten has long been fascinated by Carlo Gesualdo – an Italian prince and one of the most extreme composers of the Late Renaissance, whose dramatic life and bitter fate make up the plot in Holten's and librettist Eva Sommestad Holten's 'modern baroque opera' Gesualdo – Shadows. Reflecting our own time, this is a drama of a great artist lost between outward duties and inner fragility: from a passionate youth to an old age of mysticism, violence and melancholy. Gesualdo's own madrigals, fused into the score, contribute to a thrilling universe of pain and beauty.
Contents and tracklist
- Gert Henning-Jensen (Carlo Gesualdo), Tor Lind (Shadow), Guideo Paevatalu (Duke Alfonso af Ferrara), Hanna Kappelin (Maria d’Avalos), Ann-Christine Wesser Ingels (Léonora d’Este), Jesper Buhl (Fontanelli)
- Musica Ficta, Concerto Copenhagen
- Bo Holten, Deda Cristina Colonna
Spotlight on this release
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Awards and reviews
October 2018
Writing about music is dangerous, especially in the theatre. Holten doesn’t just neutralise the problem; he gives his opera all its charm by rooting it in the music in question…As usual, Henning-Jensen is unflinchingly puppyish, in bright and thrilling voice and wholly committed, but unable to reveal much under the immediate surface emotions of this complex character.
November 2018
A fascinating operatic exploration of Gesualdo’s dramatic life, making much use of his music.
