Hana Blažíková: Vienna 1709

Author: 
David Vickers
ACC24284. Hana Blažíková: Vienna 1709Hana Blažíková: Vienna 1709

Hana Blažíková: Vienna 1709

  • Marte placato, Sa il crudel
  • La placidia, Sinfonia
  • La placidia, Tal vicina a Giglio
  • Le profezie d’Eliseo nell’assedio di Samaria, Prole tenera
  • Il giudizio di Paride, Il goder un bel sembiante
  • Il fiore delle eroine, Amante ozioso
  • Il ritorno di Giulio Cesare vincitore della , E pur le mie rovine
  • Dafne in Lauro, Lascio d’esser Ninfa
  • La decima fatica d’Ercole , Sento nel core
  • (Il) Fonte della Salute
  • Calvario, So che piace a gli occhi tuoi (Aria di misericordia)
  • Il mese di Marzo consecrato a Marte, Non sdegnar

Ten arias by three Italian composers (and the Austrian Fux), all of whom were active in Vienna during the first decade or so of the 18th century. The title ‘Vienna 1709: Opera Arias’ is misleading on almost all counts: this broader survey includes music from several serenatas and oratorios dating from 1704 16. Most feature a pair of viols, and not much else except a basso continuo trio.

Sometimes the viols are equal partners in dialogue with the voice, as in the exquisite opener ‘Il goder un bel sembiante’ from Pietro Baldassari’s Il giudizio di Paride (1707), and the paired viols provide an expressive echo of the singer’s weeping in ‘Prole tenera’ from Ariosti’s oratorio Le profezie d’Eliseo nell’assedio di Samaria (1705). A few elaborate solo obbligato parts are played by Ensemble Tourbillon’s director Petr Wagner, such as the beguilingly spun conversation between virtuoso gamba and limpid voice in ‘Sento nel core’ from Fux’s heroic-pastoral La decima fatica d’Ercole (1710). A pair of oboes is added to a softly seductive sinfonia from Ariosti’s Marte placato (1707), and a chalumeau illustrates a pastoral allusion in ‘Non sdegnar’ from Fux’s Il mese di Marzo (1709). BlaΩíková’s limpidly stylish singing eloquently conveys the poetry and its sentiments. Such rarefied beauty and intelligence means that any risk of textural monotony is deftly side-stepped, and a treasure trove of fine music is revealed.

Gramophone Subscriptions

From£67/year

Gramophone Print

Gramophone Print

no Digital Edition
no Digital Archive
no Reviews Database
no Events & Offers
From£67/year
Subscribe
From£67/year

Gramophone Reviews

Gramophone Reviews

no Print Edition
no Digital Edition
no Digital Archive
no Events & Offers
From£67/year
Subscribe
From£67/year

Gramophone Digital Edition

Gramophone Digital Edition

no Print Edition
no Reviews Database
no Events & Offers
From£67/year
Subscribe

If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.

© MA Business and Leisure Ltd. 2018