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Ferrari, Benedetto - Amanti, io vi sò dire
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Special offer. Music For A While - Baroque Melodies
Anne Sofie Von Otter (Soprano), Jakob Lindberg (guitar & lute), Anders Ericson (theorbo) & Jory Vinikour (harpsichord & organ)
Awards:
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Gramophone Magazine, May 2005, Editor's Choice
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Ensemble Anthonella provide delightfully spicy renditions of their cross-section of Ciaconas…The two recorder players have a delightfully free approach to their lines, using various flutterings... —
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Her anguished singing of the great lament 'Lasciate Averno' is immensely moving, without compromising vocal purity...All the musicians display the greatest skill and stylistic sensitivity...This... —
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Special offer. Qvid Est Veritas - A Collection of Works From the 'seicento'
Olalla Alemán (soprano), Los Músicos de Su Alteza, Luis Antonio González
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In addition to playing with a fabulous sense of joie de vivre, the Australian Brandenburg players demonstrate a chameleon-like ability to take on or subtly inject different musical styles into... —
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Il Sansone
Carlo Lepore (bass), Roberta Invernizzi (soprano), Gian Paolo Fagotto (tenor), Furio Zanasi (baritone), Roberto Balconi (alto)
Il Complesso Barocco, Alan Curtis
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Franco Fagioli: Canzone e Cantate
Franco Fagioli (countertenor), Luca Pianca (lute), Marco Frezzato (cello), Jörg Halubek (harpsichord)
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Special offer. Benedetto Ferrari: Musiche Varie a voce sola
Patrizia Durando (soprano)
In Tabernae Musica
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Odi Euterpe
Italian monody in the early 17th century
Rosa Domínguez (mezzo), Mónica Pustilnik (archlute, Renaissance guitar & organ) & Dolores Costoyas (theorbo & Baroque guitar)
Rosa Dominguez has an attractively light and lyrical voice, warm in the middle register and bright in the upper one. Her phrasing is sensitive and improvised ornamentation in an appropriate... —
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Special offer. 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... —
