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专辑名称: Roma Travestita
创作艺人: [Bruno De Sá]
音乐流派: Classical|古典
专辑规格: 1碟13首
出品公司: Warner Classics
发行时间: 2022/9/16
官方标价: £9.79 （会员免费下载）
域名语言: [it][ca] （AI检测）
曲目介绍：
Griselda, Act 1: "Dì che sogno, o che deliro" (Griselda)
Griselda, Act 2: "Mi rivedi, o selva ombrosa" (Griselda)
Il farnace, Act 2: "Lascerò d'esser spietata" (Berenice)
Giustino, RV 717, Act 2: "Per noi soave e bella" (Arianna)
Giustino, RV 717, Act 3: "Senza l'amato ben" (Leocasta)
Vologeso, re de' parti, Act 2: "Nell'orror di notte oscura" (Berenice)
Achille in Sciro, Act 1: "Del sen gl'ardori nessun mi vanti" (Deidamia)
Evergete, Act 1: "Qual pellegrino errante" (Candace)
Adelaide, Act 2: "Timida pastorella" (Adelaide)
Adelaide, Act 1: "Nobil onda" (Adelaide)
Livia Claudia vestale, Act 2: "Padre, germano" – "Vadasi pure a morte" (Livia Claudia)
Pompeo magno in Armenia, Act 3: "Grato oblio, soave pace" (Giulia)
La buona figliuola, Act 1: "Furie di donna irata" (La Marchesa Lucinda)
详细介绍:
In male opera singing, high tessituras have enjoyed widespread success in recent years. After countertenor Jakub Józef Orliński, who gained fame following his performance at the Festival d%27Aix-en Provence in 2017, and Pene Pati, whose interpretation of Rigoletto that same year propelled him into superstardom, it’s now Bruno de Sá%27s turn to enter the big leagues. The Brazilian male soprano, who possesses a breath-taking voice capable of reaching the highest of notes, has released Roma travestita – his first recital for Erato.
The programme offers an overview of two centuries of castrato repertoire, from the late 16th century onwards, during which time the Roman Church prohibited the presence of women in any stage performance. Some compositional treasures written for this rare tessitura are still accessible today, immortalised by great names such as Farinelli or Farfallino, whose reputation now reaches far beyond the realms of classical music.
Fortunately, the practice of castration has all but disappeared today, but it is thus even more unusual to find male interpreters with the vocal capacities to interpret these female roles. This programme is the result of the extremely well-documented work carried out by Yannis. Alongside some essential arias by Antonio Vivaldi, Baldassare Galuppi and Nicolo Piccinini, you’ll also discover some delicious rarities written by Rinaldo di Capua, Giuseppe Arena and Francisco Fajer, amongst others. Surrounded by the remarkable ensemble Il Pomo d%27oro, conducted by Francesco Corti, Bruno de Sá dazzles with his outstanding technique and flawlessly refined tone, free from imperfections.
The only drawback is that the chosen pieces purely demonstrate technical virtuosity. It would have been great to see more variety in the selection—less bel canto, more sobriety. It%27s all a matter of balance. This first album certainly makes an impact, however. By the time a second album is released, the singer%27s reputation will undoubtedly be well established, giving way to a programme that’s less virtuoso and more full-bodied. In the meantime, let%27s enjoy Bruno de Sá%27s rare talent that has allowed the world to rediscover these incredible works! © Pierre Lamy/Qobuz
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