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Patricia Petibon, La Cetra, Andrea Marcon – Nouveau monde – Baroque Arias and Songs (2012)
FLAC (tracks) 24 bit/96 kHz | Time – 01:07:45 minutes | 1,26 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Deutsche Grammophon (DG)
Admired for her remarkable creative imagination and exemplary musicianship, soprano Patricia Petibon, in her newest album for Deutsche Grammophon, offers a treasure-trove of fascinating Baroque curiosities guaranteed to enthral both the Baroque aficionado and the casual listener.
Nouveau Monde is conceived as a journey from the Old to the New World, a spell-binding collection of arias, songs and pieces from European composers (Charpentier, Händel, Rameau, Purcell) that testify to their composers’ fascination with the exoticism of recently-discovered lands, as well as South American folksongs which boast exceptional rhythmic energy and colour
Spectacularly accompanied by the La Cetra Baroque Orchestra under the excelling direction of Andrea Marcon – who also stands out as a Baroque organist and harpsichordist – Patricia enchants our senses with a mélange of 17th-century arias and folk songs from England, France, Spain, and Latin America
As a follow-up to her best-selling Rosso and Melancolía albums, Patricia Petibon’s 2012 release is guaranteed to be one of the most popular and sought-after Baroque releases of the year
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Chouchane Siranossian, Venice Baroque Orchestra & Andrea Marcon – Duello d’archi a Venezia (2023)
FLAC (tracks) 24 bit/192 kHz | Time – 01:16:29 minutes | 2,84 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
“For this recording we have created an imaginary ‘battle of the bows’ between Vivaldi, Veracini, Tartini and Locatelli, the ‘four musketeers’ of the violin in Venice during the first half of the 18th century”, said Chouchane Siranossian and Andrea Marcon. “Corelli died in 1713 and passed the torch on to his heirs… Venice then became the setting for merciless rivalries. The violin became an instrument of confrontation, an ideal weapon for demonstrating virtuosity and technical prowess. The player’s ultimate goal was to astonish the listener and to demonstrate his own bravura, to the point that certain narcissistic tendencies of the player were often exaggerated.” Chouchane Siranossian, whose virtuosity was described as “diabolical” by the Sunday Times and who “hit the nail on the head” according to Classica on her Tartini recording (Alpha596, Choc), is the ideal interpreter of these high-risk concertos, with the fresh and knowledgeable support of Andrea Marcon and his Venetian ensemble.
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La Cetra Barockorchester, Vokalensemble Basel, Andrea Marcon – Handel: Parnasso in festa, HWV 73 (Live) (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 01:57:08 minutes | 2,10 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © PentaTone
Andrea Marcon and La Cetra Barockorchester & Vokalensemble Basel sparkle in this new release of Handel’s forgotten masterpiece Parnasso in testa, recorded shortly before their hugely successful Netherlands premiere of the opera in November 2016.
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Chouchane Siranossian, Venice Baroque Orchestra & Andrea Marcon – Tartini: Violin Concertos (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:19:20 minutes | 1,48 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
French violinist Chouchane Siranossian tackles a programme of extremely virtuosic concertos that few Baroque violinists dare to face. Thanks to her technical gifts and to partners ideally suited to this repertory – the Venice Baroque Orchestra and its conductor Andrea Marcon, a specialist in the Italian Baroque style – she takes up the challenge with brio.
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Giuliano Carmignola, Venice Baroque Orchestra, Andrea Marcon – Vivaldi, Locatelli, Tartini: Concerto Veneziano (2005)
FLAC (tracks) 24 bit/96 kHz | Time – 01:05:57 minutes | 1,26 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Archiv Produktion
This disc is really something special. Collectors are so spoiled for choice in the baroque repertoire at present, particularly on period instruments, but even in a glutted market this disc stands out for imaginative repertoire selection and outstanding interpretation. Its particularly gratifying, in these days of complete editions of everything, to see a discerning artist like Giuliano Carmignola choose four remarkably diverse works by three different composers, and simply play the living daylights out of them. The result roundly disproves the notion that Italian baroque violin concertos all sound the same, a point made even more forcefully by imaginative continuo work (on harpsichord, lute, and organ) by the Venice Baroque Orchestra that helps to emphasize each pieces individual character. The two Vivaldi concertos, for example, couldnt be more different. RV 583, subtitled in due cori, is a dialogue between the soloist and the two opposing orchestral groups, sometimes elegant, often virtuosic, and Carmignolas account of the beautiful central chaconne is haunting. The E minor concerto RV 278, on the other hand, is dramatic, passionate, and intense almost to the point of lunacy in its outer movements. The entry of the solo is a moment of high drama that Carmignola clearly relishes, and the entire work often sounds more like one of the more emotive and spasmodic creations of C.P.E. Bach than it does the coolly patterned tune-making of The Red Priest. The orchestra attacks this later work with an unbridled ferocity that never turns crude, and both concertos enjoy the distinction of ranking among Vivaldis largest, lasting nearly 15 minutes apiece.
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