Italia 1600, Argentina 1900

Italia 1600, Argentina 1900

by Veronica Cangemi

CD

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Overview

Italia 1600, Argentina 1900

France's Naïve label has overdone it this time with the electronica-like design for the cover of this release, which gives the buyer little idea of what he or she is going to hear. Even the title is not much help; most of the music does not come from Italy in the years around 1600 nor from Argentina around 1900, and the South American selections are more in the nature of punctuation of the program than the equivalent group the title implies. One might also note that the Spanish accent marks are pointing the wrong way in the track list. And there the list of complaints ends. This is a breathtaking vocal recital that, in its way, represents a landmark for the long incorporation of early music in the classical mainstream. The biggest news is that Argentine soprano Verónica Cangemi emerges as a major new talent, capable of handling perhaps the most devastatingly difficult of Vivaldi's operatic arias, the storm aria "Come in vano il mare irato," from "Catone in Utica," track 2. But more intriguing is the diverse set of paths Cangemi takes as she approaches and departs from these centerpieces. The set of works on the album may seem to lack unity on the printed page, covering a range from Monteverdi to Mozart's contemporary Paisiello and then adding twentieth century Latin American works to boot. But it all holds together in a gripping way. Cangemi takes the virtuoso arias (including a rarely heard Spanish-language cantata by Handel) as one pole, and limpid laments, such as Argentine composer Carlos Guastavino's "Se equivocó la paloma" (track 9, rarely sung as gorgeously as this), as the other. In between are various other forms of vocal virtuosity: pieces that reflect the vocal muscle of the castrato (Riccardo Broschi, who contributed insertion arias to Hasse's "Artaserse"), and pieces rooted in monody like the rare "Alto giove," from Haydn's teacher Nicola Porpora (track 1). The Latin American pieces are accompanied by a guitar (the final "Bachiana Brasileira No. 5" of Villa-Lobos, which brings the whole adventure to a transcendent resting place, adds a cello), and various Baroque instruments accompany the other numbers, with the result that the ensemble seems to swell and contract at its own rate, independent of but complementary to what is happening with the vocal. As may be seen, this is not a "historical performance," although it draws on the insights developed in that field. It is something better: a Baroque recital in which materials external to the early music core are bent to amplify the program as a supremely talented singer needs them to. An altogether superb vocal recital.

Product Details

Release Date: 11/18/2008
Label: Naive
UPC: 0709861304660
catalogNumber: 30466

Tracks

  1. Polifemo, opera: Alto giove

    1. Alto giove  (08:29)
  2. Catone in Utica, opera in 3 acts, RV 705 (only acts 2 & 3 extant): Come in vano il mare irato

    1. Come in vano il mare irato  (06:07)
  3. Si dolce è'l tormento, madrigal for solo voice, SV 332  (03:09)
  4. Milonga en ay menor, vocal milonga  (02:23)
  5. Rinaldo, opera, HWV 7: Lascia ch'io pianga

    1. Lascia ch'io pianga  (05:34)
  6. Gli orti esperidi, opera: Son fra l'onde in mezzo al mare. Recitativo

    1. Son fra l'onde in mezzo al mare. Recitativo  (00:46)
  7. Gli orti esperidi, opera: Son fra l'onde in mezzo al mare. Aria

    1. Son fra l'onde in mezzo al mare. Aria  (03:47)
  8. Euridice, opera: Tu ch'ai le penne Amore

    1. Tu ch'ai le penne Amore  (01:52)
  9. Se equivocó la paloma, for voice & piano  (02:14)
  10. Artaserse, opera: Son qual nave ch'agitata

    1. Son qual nave ch'agitata  (08:07)
  11. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Tu del ciel ministro eletto. Recitativo

    1. Tu del ciel ministro eletto. Recitativo  (01:16)
  12. Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Tu del ciel ministro eletto. Aria

    1. Tu del ciel ministro eletto. Aria  (07:13)
  13. Nó se emenderà jamás, cantata, HWV 140

    1. Aria  (02:08)
    2. Recitativo  (00:59)
    3. Allegro  (01:39)
  14. La Fida ninfa, opera in 3 acts, RV 714: Dite, oimè! Ditelo, al fine

    1. Dite, oimè! Ditelo, al fine  (02:55)
  15. La Molinara, opera: Nel cor più non mi sento

    1. Nel cor più non mi sento  (01:25)
  16. Bachianas Brasileiras No. 5, for voice & 8 cellos, A. 389: Ária. Cantilena

    1. Ária. Cantilena  (05:35)

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