Nathalie Stutzmann: Quella Fiamma - Arie Antiche
View record and artist detailsRecord and Artist Details
Composer or Director: Francesco Durante, George Frideric Handel, Nicola (Antonio) Porpora, Andrea Falconieri, (Pietro) Alessandro (Gaspare) Scarlatti, Giovanni Legrenzi, Antonio Cesti, Giovanni Paisiello, Antonio Caldara, Giulio Caccini, Francesco Bartolomeo Conti (Contini), Samuel Capricornus, (Pietro) Francesco Cavalli, Giovanni Bononcini, Alessandro Parisotti, Alessandro Marcello, Johann Paul Aegidius Martini
Genre:
Opera
Label: Erato
Magazine Review Date: 12/2017
Media Format: CD or Download
Media Runtime: 73
Mastering:
DDD
Catalogue Number: 90295 76529
Tracks:
Composition | Artist Credit |
---|---|
Gia il sole al Gange |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
Danza, danza, fanciulla |
Francesco Durante, Composer
Francesco Durante, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
Passacaglia |
Andrea Falconieri, Composer
Andrea Falconieri, Composer Orfeo 55 |
Amarilli mia bella |
Giulio Caccini, Composer
Giulio Caccini, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
O cessate di piagarmi |
(Pietro) Alessandro (Gaspare) Scarlatti, Composer
(Pietro) Alessandro (Gaspare) Scarlatti, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
Alcina |
George Frideric Handel, Composer
George Frideric Handel, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
Quella Fiamma |
Francesco Bartolomeo Conti (Contini), Composer
Francesco Bartolomeo Conti (Contini), Composer Nathalie Stutzmann, Contralto Orfeo 55 |
Per la gloria d'adorarvi |
Giovanni Bononcini, Composer
Giovanni Bononcini, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
Sonata a 3 |
Nicola (Antonio) Porpora, Composer
Nicola (Antonio) Porpora, Composer Orfeo 55 |
Vergin, tutto amor |
Francesco Durante, Composer
Francesco Durante, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
Concerto for Cello and Strings, Movement: Largo |
Nicola (Antonio) Porpora, Composer
Nicola (Antonio) Porpora, Composer Orfeo 55 |
Se tu m'ami |
Alessandro Parisotti, Composer
Alessandro Parisotti, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
Eteocle e Polinice, Movement: Che fiero costume |
Giovanni Legrenzi, Composer
Giovanni Legrenzi, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
Giasone, Movement: Delizie contente |
(Pietro) Francesco Cavalli, Composer
(Pietro) Francesco Cavalli, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
Oboe Concerto in D minor, Movement: Adagio |
Alessandro Marcello, Composer
Alessandro Marcello, Composer Orfeo 55 |
Giulio Cesare, 'Julius Caesar', Movement: E pur così in un giorno ... Piangerò, la sorte mia |
George Frideric Handel, Composer
George Frideric Handel, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
Prothimia suavissima, Book 2, Movement: Sonata a 3, II/4 |
Samuel Capricornus, Composer
Orfeo 55 Samuel Capricornus, Composer |
Plaisir d'amour |
Johann Paul Aegidius Martini, Composer
Johann Paul Aegidius Martini, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
(L')Amor contrastato, 'La Molinara', Movement: Nel cor più non mi sento |
Giovanni Paisiello, Composer
Giovanni Paisiello, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
Concerto No 1, Movement: Introduction |
Francesco Durante, Composer
Francesco Durante, Composer Orfeo 55 |
Intorno all'idol mio |
Antonio Cesti, Composer
Antonio Cesti, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
(La) Costanza in amor vince l'inganno, Movement: Sebben crudele |
Antonio Caldara, Composer
Antonio Caldara, Composer Nathalie Stutzmann, Contralto Orfeo 55 |
Author: Lindsay Kemp
One has to admire Parisotti’s taste, as well as (not the first time) Stutzmann’s rich, wine-dark voice, noble emotional articulation and, when required, flashing virtuosity. Some of these arias are simply ravishing in her hands, from Scarlatti’s touching vignette of wounded love ‘O cessate di piagarmi’ to Cesti’s ‘Intorno all’idol mio’ (sung with a superb close concentration that has you hanging on every word), and from Caccini’s haunting ‘Amarilli mia bella’ to Durante’s infectiously swinging ‘Danza, danza, fanciulla gentile’. At the same time there is no denying that Handel is the giant here, his two arias in a different league of expressive scope and profundity from anything else on the disc; Stutzmann obviously relishes the opportunity to occupy soprano territory in a magnificently moving ‘Ah! mio cor’.
She conducts her Orfeo 55 orchestra with a sure hand, too, though a close-ish balance is less than kind to the strings. But she is the star all right, one of the great baroque singers of our day.
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