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Mozart: Arias for Male Soprano

Editorial Reviews

All Music Guide - James Manheim
American male soprano Michael Maniaci he declines the descriptor countertenor pursues beauty rather than power in his singing, which is entirely worth hearing. The booklet notes for this Telarc release, by an unidentified annotator, spend a lot of time speculating as to whether castrati might have sounded like this in the 18th century, and not enough asking how often they actually sang Mozart's music; by the time of the latest opera represented in this collection of arias, "La clemenza di Tito," the castrati were in decline. Mozart rarely if ever wrote the "arias for male soprano" promised on the cover of this release; he wrote for female singers. All this said, Maniaci's...
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Editorial Reviews

All Music Guide - James Manheim
American male soprano Michael Maniaci he declines the descriptor countertenor pursues beauty rather than power in his singing, which is entirely worth hearing. The booklet notes for this Telarc release, by an unidentified annotator, spend a lot of time speculating as to whether castrati might have sounded like this in the 18th century, and not enough asking how often they actually sang Mozart's music; by the time of the latest opera represented in this collection of arias, "La clemenza di Tito," the castrati were in decline. Mozart rarely if ever wrote the "arias for male soprano" promised on the cover of this release; he wrote for female singers. All this said, Maniaci's voice is unusual enough to make news. There is none of the sheer power that is generally held to be the distinctive quality of the high male voice. Instead, Maniaci cultivates agility -- quiet high notes are always impressively precise -- and a delicate melodic quality. His lower register is a bit underpowered; if a line begins at the bottom of his range, he tends to get lost among the strings of the Boston Baroque orchestra. But in the warm, mid-range selections from "La clemenza di Tito" tracks 6 and 7, he has an unusual shine that blends perfectly with the orchestra's period strings. The album concludes with the virtuoso cantata "Exsultate, Jubilate, K. 165," which is a real soprano showpiece; Maniaci's almost quiet but superbly controlled version is a true surprise. The entire program is quite a departure for the U.S. Telarc label, known for its orchestral showpieces and pops spectaculars, but the engineers, with the help of the fine acoustics at Mechanics Hall in Worcester, MA, present this smaller music to best advantage. Well worth hearing for aficionados of the high male voice.
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Product Details

  • Release Date: 1/26/2010
  • Label: Telarc
  • UPC: 888072318274
  • Catalog Number: 31827
  • Sales rank: 264,280

Tracks

Disc 1
  1. 1 Idomeneo, rè di Creta, opera, K. 366: Overture - Wolfgang Amadeus Mozart & Boston Baroque (4:28)
  2. 2 Idomeneo, rè di Creta, opera, K. 366: Recitative and Aria. Ah qual gelido orror ... Il p - Wolfgang Amadeus Mozart & Boston Baroque (3:54)
  3. 3 Lucio Silla, opera, K. 135: Recitative and Aria. Dunque sperar poss'io ... Il - Wolfgang Amadeus Mozart & Boston Baroque (10:27)
  4. 4 Lucio Silla, opera, K. 135: Aria. Ah se a morir mi chiama - Wolfgang Amadeus Mozart & Boston Baroque (8:55)
  5. 5 La Clemenza di Tito, opera, K. 621: Overture - Wolfgang Amadeus Mozart & Boston Baroque (4:49)
  6. 6 La Clemenza di Tito, opera, K. 621: Aria. Deh per questo istante solo - Wolfgang Amadeus Mozart & Boston Baroque (6:30)
  7. 7 La Clemenza di Tito, opera, K. 621: Aria. Parto, ma tu ben mio - Wolfgang Amadeus Mozart & Boston Baroque (6:25)
  8. 8–11 Exsultate, jubilate, motet for soprano & orchestra, K. 165 (K. 158a) - Wolfgang Amadeus Mozart & Boston Baroque (15:25)
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Album Credits

Performance Credits
Michael Maniaci Primary Artist
Martin Pearlman Primary Artist
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