Nathalie Stutzmann – Contralto (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:34:07 minutes | 1,81 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics
Contralto Nathalie Stutzmann shines a light on the deep-voiced female singers of the Baroque era, often overshadowed by the extravagant talents and reputations of castrato singers like Farinelli and Caffarelli. Her programme of Handel, Vivaldi, Porpora, Bononcini, Caldara and Gasparini displays the variety of operatic roles – both female and male – assumed by contraltos like Vittoria Tesi and Anna Marchesini. “We must remember that the opera composers of the early 18th century saw the female contralto and the male castrato as vocally interchangeable,” says Stutzmann, “and that the voice most closely resembling a castrato is not the countertenor – produced using a falsetto technique – but the contralto, which is a natural voice.” Stutzmann both sings and conducts Orfeo 55, the instrumental ensemble she founded a decade ago.
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Haochen Zhang, The Philadelphia Orchestra, Nathalie Stutzmann – Beethoven: The 5 Piano Concertos (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 02:54:30 minutes | 2,77 GB | Genre:
Studio Masters, Official Digital Download | Front Cover | © BIS
As one of the finest pianists of his era and an improviser of genius, Ludwig van Beethoven’s preferred vehicle for musical exploration was the piano. With his five piano concertos composed between 1788 and 1809, he not only achieved a brilliant conclusion to the Classical piano concerto, but also established a new model for the Romantic era: a sort of symphony with obbligato piano which was to remain a reference point well into the twentieth century.
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Nathalie Stutzmann, Orfeo 55 – Bach, J.S.: Une cantate imaginaire (2012/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 01:19:46 minutes | 1,42 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Universal Music Division Decca Records France
For her new album Une cantate imaginaire, Nathalie Stutzmann has imagined an “ideal” cantata based on the most beautiful music composed by Johann Sebastian Bach, including vocal arias of course, but also instrumental pieces and even chorales. Arias of gallantry or tenderness, anger, love, fear or despair… every register of expression comes together in her “Cantate imaginaire”, giving birth to an entirely work with an album constructed in a single, continuous breath. An emotional Gem.
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