Francesco Meli, Roberto Frontali, Vitalij Kowaljow, María José Siri – Verdi: Ernani (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 02:06:39 minutes | 1,30 GB | Genre: Classical, Opera
Studio Masters, Official Digital Download | Front Cover | © Naxos
Victor Hugo’s 1830 stage drama Hernani won overwhelming admiration, and over a decade later Verdi’s attention was drawn to it as an operatic vehicle that would give him opportunities for full dramatic unity. Its subject is the nobleman-turned-brigand Ernani who loves Elvira, herself the object of two other men’s desires. Ernani’s success was immediate and it became Verdi’s most popular opera until he composed Il trovatore. This production won critical acclaim, as did conductor James Conlon for his ‘superb support of the singers and the flexible elasticity he brought to his tempi’
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Fabrizio Callai, Francesco Meli – Messa Solenne (2023)
FLAC (tracks) 24 bit/48 kHz | Time – 01:16:10 minutes | 724 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Dynamic
In the last decade, a number of important manuscripts have been discovered in the archives of Genoa, including the Messa solenne by Saverio Mercadante. This magnificent score calls for four vocal soloists, a male choir – women were forbidden to sing in church at the time – and a large orchestra with extensive concertante parts for cor anglais and violin. First performed in January 1868, two years before Mercadante’s death, it shows the composer’s artistic maturity at its peak: opulent orchestration, extensive counterpoint, intricate instrumental textures, rich lyricism, and fugal mastery. This world premiere recording underscores the importance of the Genoese musical tradition.
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Francesco Meli – Prima Verdi (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 56:32 minutes | 1008 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © WM Italy
It is all dedicated to Verdi the first recital recorded for Warner by the Genoese tenor Francesco Meli, who on December 7 will inaugurate the scaligera season with the Verdi Macbeth, playing the role of Macduff. Perhaps, the title given to the album, Prima Verdi, plays a bit with the next important appointment, to which Meli is not new; perhaps, he wants to underline a predilection that the interpreter takes pride in the author, defined “my Verdi” in the autograph notes that open the booklet. What is certain is that an album dedicated to the register of the tenor in Green and the order of the arias in chronological order, it can almost appear, and to be clear, we say this in a tone melodramatic, a sort of challenge to that incision historical than makes up for this repertoire, which is a touchstone absolute, however, if you are willing to consider the results: I am referring to the collection “31 arias of Verdi’s” recorded in 1974, under the direction of Nello Santi, Carlo Bergonzi, “the tenor verdi” for excellence.
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Erika Grimaldi, Daniela Barcellona, Francesco Meli, Michele Pertusi, London Symphony Chorus, London Symphony Orchestra, Gianandrea Noseda – Verdi: Requiem (1874) (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:17:55 minutes | 1,47 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © LSO Live
Recently appointed Principal Guest Conductor of the London Symphony Orchestra, Gianandrea Noseda gathered together an outstanding cast of Italian stars for these searing performances of Verdi’s Requiem to open the LSO’s 2016/17 season.
Originally destined to be a collaboration of movements from Italian composers to honour the death of Rossini, the Requiem evolved into a memorial for the Italian writer and poet Alessandro Manzoni, whom Verdi revered, and premiered on 22 May 1874 — exactly a year after Manzoni’s death.
The most complex and dramatic sequence is the ‘Dies irae’ (Day of wrath). The vivid text of the Last Judgement allows Verdi’s operatic talents to flourish amidst the drama and pathos. The main theme erupts in violent fury of brass and percussion while the chorus roars a descending scale pattern of intimidating catastrophe and fear. In a momentary lull, a single trumpet in the orchestra opens a simple fanfare, answered quietly by a trumpet out in the concert hall. The fanfare builds in intensity and numbers until the four trumpets on stage and four house trumpets, often spatially arranged for maximum effect, join the full orchestra for a blazing opening to the choral entrance of the ‘Tuba mirum’ (The trumpet shall sound).
Whilst not a devout Catholic, Verdi was influenced by a profound sense of higher power: combining his gifts for the theatrical with his admiration for the great Italian liturgical music of the past, he created a passionate and deeply moving masterpiece, beloved of performers and audiences alike.
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