Voicing “Caro mio bene, addio,” an aria by Pescetti included by the production’s primo uomo in a pastiche version of Metastasio’s Ezio staged at the King’s Theatre in the Haymarket in November 1764, with appealing tone and earnest feeling, soprano Martene Grimson stimulates curiosity about what other gems are hidden among this composer’s scores. The success of the 1764 Drury Lane première of George Rush’s The Capricious Lovers did not prevent its librettist, Robert Lloyd, from ending his own life less than a month after the opera’s opening, but the three-part Overture, an example of the type of operatic Sinfonia that evolved into the Classical symphony that receives from The Mozartists a reading of aptly-scaled buoyancy, understandably enjoyed popularity as a concert piece that outlived the titular lovers’ presence on the stage. Had artists active in the years that separate Rush’s lifetime from the Twenty-First Century sung “Thus laugh’d at, jilted and betray’d” as Robert Murray sings it on Mozart in London, The Capricious Lovers might never have ceded its grasp on the public’s attention.
Born in Naples but most known for his tenure at the Lisbon court of José I, Davide Perez brought Metastasio’s libretti to the Portuguese capital. Metastasio’s protégé Giovanni Ambrogio Migliavacca was the author of the libretto of Perez’s Solimano, a text that, like many of Metastasio’s libretti, was utilized by a number of composers, including Pescetti, following its initial use by Johann Adolf Hasse in 1753. Perez’s adaptation of the text was first staged in Lisbon in 1758. It was for a patchwork presentation of Solimano that Perez’s aria “Se non ti moro a lato” was pressed into service in London in 1765, but the text of this aria was derived from Metastasio’s Adriano in Siria rather than Solimano.
Sir Walter Scott might have perceived in this muddle a proverbial “tangled weave,” but Martene Grimson unravels the enticement of Perez’s music with an eloquent, touching traversal of the aria.
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Among the composers with whose work Mozart became acquainted whilst visiting London, none made a stronger or longer-lasting impression than Johann Christian Bach. Often called the London Bach, this youngest son of Johann Sebastian Bach enjoyed royal patronage and popularity with the public during his time in England. During his family’s travels and his time in Vienna, Mozart either met many of the age’s foremost composers or knew their music, and the significance of his profound respect for Johann Christian Bach’s music is indicative of the caliber of his work. The Mozartists’ keyboardist Steven Devine finds much to stimulate but nothing to overextend his abilities in Bach’s Harpsichord Concerto in D major (Op.
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He dispatches Bach’s spirited writing in the outer Allegro assai and Allegro moderato movements with abundant virtuosity, but it is his playing of the central Andante that dazzles, the nobility of his phrasing reminding the listener of the expressivity of which the levitra spray harpsichord is capable when handled by a true master of its sounds. Unlike his father, the London Bach was a successful composer of music for the stage, and it is likely that the young Mozart knew a number of his older colleague’s operatic scores. Though recent years have witnessed increased interest in the stile galante typified by Bach’s music, his extant operas have received comparatively little attention. The three works sampled on Mozart in London intimate that, like Händel’s and Mozart’s, Bach’s mastery of the art of using music to convey emotion was superior to that of many of his contemporaries. The lyricism of “Non so d’onde viene,” an aria from Bach’s Alessandro nell’Indie that was sung in the London pastiche Ezio, finds a natural exponent in Ben Johnson, the lovely patina of the tenor’s voice accentuating the gracefulness of the music. Soprano Anna Devin intrepidly conquers the aria’s formidable tessitura whilst also projecting the sentiments of the text. The famously critical Charles Burney recorded that the 1765 première of Bach’s Adriano in Siria was at least partially a failure despite the presence of a beyond-capacity audience.
Scotti perhaps did not meet Burney’s expectations, but, singing the scene magnificently on Mozart in London, Devin exceeds the high standard set by Margaret Marshall in a 1988 Vienna concert performance of Adriano in Siria conducted by Sir Charles Mackerras.
For this recording, Farnaspe’s aria “Cara, la dolce fiamma” is interpreted by soprano Eleanor Dennis, and hers is some of the finest singing heard on Mozart in London, her comfort with Bach’s style facilitating a fantastic performance of this meticulously-crafted music.
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Mozart in London is unquestionably an educational release, but it melds its pedagogy with extraordinary musicality. Visiting London in 1764 and 1765 must have been much the same for Mozart.
Voicing “Caro mio bene, addio,” an aria by Pescetti included by the production’s primo uomo in a pastiche version of Metastasio’s Ezio staged at the King’s Theatre in the Haymarket in November 1764, with appealing tone and earnest feeling, soprano Martene Grimson stimulates curiosity about what other gems are hidden among this composer’s scores. The success of the 1764 Drury Lane première of George Rush’s The Capricious Lovers did not prevent its librettist, Robert Lloyd, from ending his own life less than a month after the opera’s opening, but the three-part Overture, an example of the type of operatic Sinfonia that evolved into the Classical symphony that receives from The Mozartists a reading of aptly-scaled buoyancy, understandably enjoyed popularity as a concert piece that outlived the titular lovers’ presence on the stage. Had artists active in the years that separate Rush’s lifetime from the Twenty-First Century sung “Thus laugh’d at, jilted and betray’d” as Robert Murray sings it on Mozart in London, The Capricious Lovers might never have ceded its grasp on the public’s attention. Born in Naples but most known for his tenure at the Lisbon court of José I, Davide Perez brought Metastasio’s libretti to the Portuguese capital. Metastasio’s protégé Giovanni Ambrogio Migliavacca was the author of the libretto of Perez’s Solimano, a text that, like many of Metastasio’s libretti, was utilized by a number of composers, including Pescetti, following its initial use by Johann Adolf Hasse in 1753.
Perez’s adaptation of the text was first staged in Lisbon in 1758. It was for a patchwork presentation of Solimano that Perez’s aria “Se non ti moro a lato” was pressed into service in London in 1765, but the text of this aria was derived from Metastasio’s Adriano in Siria rather than Solimano. Sir Walter Scott might have perceived in this muddle a proverbial “tangled weave,” but Martene Grimson unravels the enticement of Perez’s music with an eloquent, touching traversal of the aria. Among the composers with whose work Mozart became acquainted whilst visiting London, none made a stronger or longer-lasting impression than Johann Christian Bach. Often called the London Bach, this youngest son of Johann Sebastian Bach enjoyed royal patronage and popularity with the public during his time in England.
During his family’s travels and his time in Vienna, Mozart either met many of the age’s foremost composers or knew their music, and the significance of his profound respect for Johann Christian Bach’s music is indicative of the caliber of his work. The Mozartists’ keyboardist Steven Devine finds much to stimulate but nothing to overextend his abilities in Bach’s Harpsichord Concerto in D major (Op. He dispatches Bach’s spirited writing in the outer Allegro assai and Allegro moderato movements with abundant virtuosity, but it is his playing of the central Andante that dazzles, the nobility of his phrasing reminding the listener of the expressivity of which the levitra spray harpsichord is capable when handled by a true master of its sounds. Unlike his father, the London Bach was a successful composer of music for the stage, and it is likely that the young Mozart knew a number of his older colleague’s operatic scores. Though recent years have witnessed increased interest in the stile galante typified by Bach’s music, his extant operas have received comparatively little attention. There was something to be learned at virtually every turn, but how much easier lessons are when they are tunefully taught! ‘Jesu, was hab’ ich getan,’ from Mozart’s Grabmusik (K 42/35a), recorded for Grabmusic and Bastien und Bastienne (K 50) by tenor Jacques Imbrailo and soprano Anna Lucia Richter, with The Mozartists as conducted by Ian Page Having absorbed the lessons of London and other destinations along his family’s musical tour, Mozart returned to his native city with increased awareness of both his own abilities and the stylistic developments promulgated by his contemporaries.
The three works sampled on Mozart in London intimate that, like Händel’s and Mozart’s, Bach’s mastery of the art of using music to convey emotion was superior to that of many of his contemporaries. The lyricism of “Non so d’onde viene,” an aria from Bach’s Alessandro nell’Indie that was sung in the London pastiche Ezio, finds a natural exponent in Ben Johnson, the lovely patina of the tenor’s voice accentuating the gracefulness of the music. Soprano Anna Devin intrepidly conquers the aria’s formidable tessitura whilst also projecting the sentiments of the text. The famously critical Charles Burney recorded that the 1765 première of Bach’s Adriano in Siria was at least partially a failure despite the presence of a beyond-capacity audience. Scotti perhaps did not meet Burney’s expectations, but, singing the scene magnificently on Mozart in London, Devin exceeds the high standard set by Margaret Marshall in a 1988 Vienna concert performance of Adriano in Siria conducted by Sir Charles Mackerras.
For this recording, Farnaspe’s aria “Cara, la dolce fiamma” is interpreted by soprano Eleanor Dennis, and hers is some of the finest singing heard on Mozart in London, her comfort with Bach’s style facilitating a fantastic performance of this meticulously-crafted music. Mozart in London is unquestionably an educational release, but it melds its pedagogy with extraordinary musicality. Visiting London in 1764 and 1765 must have been much the same for Mozart. There was something to be learned at virtually every turn, but how much easier lessons are when they are tunefully taught! ‘Jesu, was hab’ ich getan,’ from Mozart’s Grabmusik (K 42/35a), recorded for Grabmusic and Bastien und Bastienne (K 50) by tenor Jacques Imbrailo and soprano Anna Lucia Richter, with The Mozartists as conducted by Ian Page Having absorbed the lessons of London and other destinations along his family’s musical tour, Mozart returned to his native city with increased awareness of both his own abilities and the stylistic developments promulgated by his contemporaries.
In 1767, the eleven-year-old Mozart was challenged by the penultimate Prince-Archbishop of Salzburg, Sigismund von Schrattenbach, to rapidly produce a score that silenced skepticism about the preternatural cleverness attributed to the boy. It is surmised that Mozart composed his Grabmusik (K. 42/35a), a Passion-themed cantata that likely received its first performance at Salzburger Dom during 1767’s Holy Week, in response to his patron’s test. Little is known of the work’s reception, but it is not difficult to suppose that Graf von Schrattenbach, who was considerably more cordial to Mozart than his archiepiscopal successor, Hieronymus von Colloredo, would prove to be, was pleased by the result of his young subject’s toil. Illustrative of a Teutonic liturgical tradition that predated Mozart by several centuries, Grabmusik’s dialogue of a soul and an angel before the tomb of Christ, sung in this performance by baritone Jacques Imbrailo and soprano Anna Lucia Richter, is a direct descendent of the sort of philosophical discourse found in Händel’s Il trionfo del tempo e del disinganno, a mode of theological explication that in other parts of Europe was already outdated in 1767–and one to which Mozart did not return in the remaining twenty-four years of his life. In 1767, the eleven-year-old Mozart was challenged by the penultimate Prince-Archbishop of Salzburg, Sigismund von Schrattenbach, to rapidly produce a score that silenced skepticism about the preternatural cleverness attributed to the boy. It is surmised that Mozart composed his Grabmusik (K.
After all, how theatrically savvy could a twelve-year-old boy possibly have been? As in all of his Mozart recordings to date, Page focuses solely on performing the music as the score dictates and leaves answering questions about the piece’s dramatic effectiveness to the listener. The first performance of Bastien und Bastienne that can be conclusively verified took place in Berlin in 1890, but so revelatory is The Mozartists’ animated account of the score that it might be the world-première performance. ‘…precisely the kind of lovers’ quarrel and reconciliation that would now be conducted via text message’: Alessandro Fisher and Anna Lucia Richter in the feisty duet ‘Geh!
42/35a), a Passion-themed cantata that likely received its first performance at Salzburger Dom during 1767’s Holy Week, in response to his patron’s test. Little is known of the work’s reception, but it is not difficult to suppose that Graf von Schrattenbach, who was considerably more cordial to Mozart than his archiepiscopal successor, Hieronymus von Colloredo, would prove to be, was pleased by the result of his young subject’s toil. Illustrative of a Teutonic liturgical tradition that predated Mozart by several centuries, Grabmusik’s dialogue of a soul and an angel before the tomb of Christ, sung in this performance by baritone Jacques Imbrailo and soprano Anna Lucia Richter, is a direct descendent of the sort of philosophical discourse found in Händel’s Il trionfo del tempo e del disinganno, a mode of theological explication that in other parts of Europe was already outdated in 1767–and one to which Mozart did not return in the remaining twenty-four years of his life. Belying the age of its composer, the maturity of the musical language reflects the depth of Mozart’s remarkably erudite understanding of the discourse. From the first notes of Die levitra cut price Seele’s recitative “Wo bin ich? bittrer Schmerz,” Imbrailo delivers the soul’s utterances with secure, sonorous tones. Guided by Page’s tempi, pensive but never ponderous, the baritone lends his voicing of the aria “Felsen, spaltet eurer Rachen” an aura of wonderment. Richter answers with declamations of Der Engel’s “‘Geliebte Seel’, was redest du?” and “Betracht dies Herz und frage mich” that spotlight Mozart’s youthful but surprisingly advanced sensitivity to layers of meaning in the text. The spontaneity of Imbrailo’s pronouncement of “O Himmel! was ein traurig Licht” heightens the sense of fulfilled faith that permeates the music. The concluding duet, “Jesu, was hab’ ich getan,” is an obvious step along the path that leads from Johann Sebastian Bach’s Passions to Elgar’s Dream of Gerontius. ‘A perfect expression of hormonally-charged young love’: tenor Alessandro Fisher performs Mozart’s ‘Meiner Liebsten schöne Wangen’ with The Mozartists as conducted by Ian Page on Bastien und Bastienne.
In the year after his Grabmusik was composed, Mozart continued the experimentation with composing for the operatic stage begun with Apollo et Hyacinthus with a small-scaled work for voices intended to parody Jean-Jacques Rousseau’s 1752 intermède Le devin du village, one of the most successful operatic pieces of its decade. One of Mozart’s earliest biographers, his widow’s second husband, speculated but could not substantiate that Bastien und Bastienne (K.
50/46b) was first performed by forces funded by the renowned German doctor Franz Friedrich Anton Mesmer at his palatial residence in Vienna and may also have been commissioned by him. (Regardless of the discord that it inspired, later lampooned by Mozart in Così fan tutte, Mesmer’s concept of animal magnetism was clearly a profitable postulation.) Corroborating assertions concerning events conjectured to have transpired a quarter-millennium ago is difficult under the best of circumstances, but reconstructing the chronology of Bastien’s genesis was aided by the Twentieth-Century rediscovery of the autograph score, which affirmed details of the work’s initial composition and later revision.
Belying the age of its composer, the maturity of the musical language reflects the depth of Mozart’s remarkably erudite understanding of the discourse. From the first notes of Die levitra cut price Seele’s recitative “Wo bin ich? bittrer Schmerz,” Imbrailo delivers the soul’s utterances with secure, sonorous tones. Guided by Page’s tempi, pensive but never ponderous, the baritone lends his voicing of the aria “Felsen, spaltet eurer Rachen” an aura of wonderment. Richter answers with declamations of Der Engel’s “‘Geliebte Seel’, was redest du?” and “Betracht dies Herz und frage mich” that spotlight Mozart’s youthful but surprisingly advanced sensitivity to layers of meaning in the text.
The spontaneity of Imbrailo’s pronouncement of “O Himmel! was ein traurig Licht” heightens the sense of fulfilled faith that permeates the music. The concluding duet, “Jesu, was hab’ ich getan,” is an obvious step along the path that leads from Johann Sebastian Bach’s Passions to Elgar’s Dream of Gerontius. ‘A perfect expression of hormonally-charged young love’: tenor Alessandro Fisher performs Mozart’s ‘Meiner Liebsten schöne Wangen’ with The Mozartists as conducted by Ian Page on Bastien und Bastienne. In the year after his Grabmusik was composed, Mozart continued the experimentation with composing for the operatic stage begun with Apollo et Hyacinthus with a small-scaled work for voices intended to parody Jean-Jacques Rousseau’s 1752 intermède Le devin du village, one of the most successful operatic pieces of its decade.
One of Mozart’s earliest biographers, his widow’s second husband, speculated but could not substantiate that Bastien und Bastienne (K. 50/46b) was first performed by forces funded by the renowned German doctor Franz Friedrich Anton Mesmer at his palatial residence in Vienna and may also have been commissioned by him. (Regardless of the discord that it inspired, later lampooned by Mozart in Così fan tutte, Mesmer’s concept of animal magnetism was clearly a profitable postulation.) Corroborating assertions concerning events conjectured to have transpired a quarter-millennium ago is difficult under the best of circumstances, but reconstructing the chronology of Bastien’s genesis was aided by the Twentieth-Century rediscovery of the autograph score, which affirmed details of the work’s initial composition and later revision. However Mesmer was involved with its creation, The Mozartists definitively show Bastien und Bastienne to be an endearingly hypnotic example of the young Mozart’s ingenuity. Though uniformly well-intentioned and thoroughly musical, previous recorded performances have tended to treat Bastien und Bastienne as a museum piece rather than a viable work for the stage. However Mesmer was involved with its creation, The Mozartists definitively show Bastien und Bastienne to be an endearingly hypnotic example of the young Mozart’s ingenuity. Though uniformly well-intentioned and thoroughly musical, previous recorded performances have tended to treat Bastien und Bastienne as a museum piece rather than a viable work for the stage. After all, how theatrically savvy could a twelve-year-old boy possibly have been? As in all of his Mozart recordings to date, Page focuses solely on performing the music as the score dictates and leaves answering questions about the piece’s dramatic effectiveness to the listener. The first performance of Bastien und Bastienne that can be conclusively verified took place in Berlin in 1890, but so revelatory is The Mozartists’ animated account of the score that it might be the world-première performance. ‘…precisely the kind of lovers’ quarrel and reconciliation that would now be conducted via text message’: Alessandro Fisher and Anna Lucia Richter in the feisty duet ‘Geh!