ST
PETERSBURG
CECILIA
BARTOLI with
I
Barocchisti / Diego Fasolis
Decca
478 6767 / *****
The indefatigable Italian mezzo-soprano
Ceclia Bartoli’s latest concept album explores the little-known world of the
Russian baroque. Within is the story of three empresses, Anna, Elizabeth and
Catherine the Great, who presided from 1730 to 1796, bringing into their courts
composers from Western Europe in an effort to “modernise” feudalistic Russia. Contemporaneous
with expanding architectural developments of St Petersburg, the Russian capital
became the “Paris of the East”. The Italian Francesco Araia and German Hermann
Raupach were the first court composers, later followed by Vincenzo Manfredini
and the better-known Domenico Cimarosa.
The slow arias have the simplicity and
cantabile of aria antiche, such as Araia's Vado a morir (from La
Forza dell'amore e dell'odio) and Raupach's Idu na smert (Altsesta),
the latter being sung in the vernacular Russian, with libretti by Alexander
Sumarokov. When it came to vocal acrobatics, some are more than a match for
Handel's sweeping brilliance. Raupach's Razverzi pyos Gortani (Altsesta)
or O Placido il mare (Siroe, Re di Persia), with vehement
proclamations and scintillating runs, are right up in coloratura territory.
The elaborately decorative baroque soon
gave way to simpler classical lines. Manfredini's Fra' lacci tu mi creda
and Non turbar que' vaghi rai (Charlemagne) are Mozartian in
their beauty, the latter with a theme reminiscent of the slow movement from
Mozart's Clarinet Concerto. Bartoli's breathtaking performances and the vivid
accompaniment on period instruments are infectious in their zealous quest for
authenticity. One becomes convinced that every song in this anthology is a
masterpiece.
OTTO KLEMPERER
Concerto Recordings
EMI Classics 40434827 (6 CDs) / *****
The great German conductor Otto Klemperer
(1885-1973) was known to be notoriously difficult to work with, as soloists
found out to their expense, but the few concerto recordings he made in the
1960s with The Philharmonia Orchestra (and its successor The New Philharmonic)
on the EMI label have deservedly become classics. Credit goes to the legendary
India-born recording engineer Suvi Raj Grubb for uniting 82-year-old Klemperer
with the rising 24-year-old Daniel Barenboim in Mozart’s Piano Concerto No.25, Beethoven's five piano concertos and Choral
Fantasy. The usually stolidity in Germanic repertoire is absent as the
performances bristle with brio and vitality, as if the spark of an unlikely
collaboration had reignited some latent inner fire.
Just as satisfying are the Hungarian
pianist Annie Fischer's performances of Schumann's Piano Concerto and
Liszt's Piano Concerto No.1, demonstrating she could barnstorm with the
best of men. The two violin concertos in this set come no less from Yehudi
Menuhin (Beethoven) and David Oistrakh (Brahms), which are easily among the
greatest recordings in the catalogue. British hornist Alan Civil completes the
line-up of greats with breezy yet emphatic accounts of the four Mozart horn
concertos. The sound is generally excellent and this box-set deserves to be in
any self-respecting library.
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