The Arie Antiche compiled by Alessandro Parisotti are known to each and every student of classical singing. But with Quella fiamma, Nathalie Stutzmann and Orfeo 55 breathe new fire into this primer for the voice, performing these songs and arias with original orchestrations, as they would have been heard in their day. Before they were lessons, they were high art. This album is a selection of pieces from Arie antiche, a 19th Century collection of songs edited by Alessandro Parisotti to be a vocal primer. Though now more famous as the editor of Arie antiche, Parisotti was also a composer, and he managed to slip one of his own works into the book by attributing to Giovanni Pergolesi his song "Se tu m'ami". The collection was very much a part of the trend to rediscover old and forgotten works, and the popularity of the three-volume set has endured to this day. For this album the musicians of Orfeo 55 have worked painstakingly to source original scores and to edit the parts as necessary. While the instrumental works are not part of Parisotti’s primer, they provide brief musical interludes between the songs to enhance the overall listening experience and bring these works together into a coherent programme.
P**E
THERE IS LITERALLY NOTHING LIKE THIS--gorgeous and fresh
a stunning achievement, full of colors, strong rhythms, renaissance flourishes, beautiful melodies, the widest range of period instrument accompaniments--from 1 lute to the chamber orchestra, Orfeo 55's 16 brilliant musicians. the program, thoughtfully arranged, alternates between period love songs and arias, and complimentary instrumental pieces. Nathalie Stutzmann's warm, flexible, burnished contralto, with astounding range and dynamics is filled with emotions and moods--pathos to playful snark-- that touch our hearts and souls, and bring smiles and tears and everything in-between. a fascinating, mesmerizing, lovely album you will never tire of--there is always something new to discover !!!
G**E
Great CD
Wonderful singer, wonderful music
K**.
Wonderful!
Beautiful voice and interpretation.
S**Y
Fabulous baroque recital
This programme is based on 'Arie antiche', the collection of baroque arias published by the late 19th-century musicologist Alessandro Parisotti. However, contralto Nathalie Stutzmann and her team have sought out and restored each of the works to its original format and scoring. The result is a wide-ranging programme of arias from composers including Caccini, Cavalli, Cesti, Alessandro Scarlatti, Poropora, Handel, Marcello, Durante and Caldara – as well as a number of instrumental works interspersed between the vocal numbers.Fans of Nathalie Stutzmann will already be familiar with her rich and expressive voice, spirited delivery and exemplary diction. She has also been emerging as an outstanding director in recent years, and so it proves here in her direction of the French-based period instrument ensemble Orfeo 55. The programme is full of fine melodies, with plenty of instrumental variety both accompanying the vocal works and in their own pieces when the contralto takes a break.To mention just a few highlights, Scarlatti's opening opera aria 'Già il sole dal Gange' is a lovely mix of attractive melody and virtuosity; Carissimi's 'Vittoria, moi core' is a delight (track 5), Handel's 'Ah! Moi cor, schernito sei' from Alcina superb (7); Porpora's two Sonata movements (12) are beautiful and very nicely played here, and the same composer's Largo from a cello concerto (14) is also lovely – one of many opportunities throughout the programme for the various solo players to shine; Stutzmann's great vocal agility, among her many fine qualities, is well displayed in Legrenzi's 'Che fiero costume' (16); Marcello's Adagio from an oboe concerto (18) is another beautiful instrumental movement; and 'Piangerò la sorte mia' from 'Giulio Cesare in Egitto' (19) brings another untouchable Handelian melody.But, in truth, there is not a dull moment in this feast of baroque beauty and variety. Nor is there the slightest chance of the listener tiring of Stutzmann's versatile and expressive voice, or of her spirited direction and the stylish response of her players. Recorded sound is first-class, booklet contents are excellent, and texts and translations are included. A fabulous treat for vocal enthusiasts.
C**E
Back to the sources with great panache
The title of this CD – “Quella fiamma”, “The fire that burns me” – is taken from a cantata by Francesco Conti. It is an appropriate description of this recording which has been described as a ‘real winner’ by one reviewer. It is a real winner. The exceptional quality of this interpretation is the result of the combined efforts of a great singer who has an exceptional voice and a remarkable ensemble Orfeo 55, conducted by Nathalie Stutzmann herself as she sings those marvellous arias.Stutzman’s voice was described by Lindsay Kemp (Gramophone – 01/2018) has being “… rich, winedark…”, showing “… noble emotional articulation and, when required, flashing virtuosity”. We are offered a superb collection (a florilège) of 25 Arie Antiche – antique arias – performed “with original orchestration, as they would have been hear in their day”.We have a similar point of view from Luca Dupont-Spirio (Diapason - # 663 – 12/2017): “Modulating the mineral and fleshy nuances of her voice, our contralto goes from one atmosphere to another with stupendous facility”. David Cutler (Fanfare, 41:5 – 05/2018) expresses similar positive comments: “Stutzmann and her ensemble are entirely convincing in the Baroque sound”, and Orfeo 55 is “… conducted in a spritely and spirited fashion, throughout”. His conclusion : “This disc is highly recommended”.A similar appreciation is expressed by David Shengold (Opera News, 03/2018). The CD is rewarded with a “Criric’s Choice. “The more I listened, the more attractive I found (Stutzman’s) singing”. His evaluation of Orfeo’s playing is also very appreciative : “Under Stutzman’s guidance, its playing is springy, alert…” and “… the continuo instruments and solo players… do strong work”.
J**N
beautifully interpreted by Nataĺie Stutzmann
This is a magnificent disc with a very well selected group of compositions, beautifully interpreted by Nataĺie Stutzmann, both in her role as conductor and vocally and played perfectly by her wonderful musicians. Listening to it is a total joy and Natalie's beautiful voice and superb phrasing are a joy
G**Y
Extrordinary singer
Wonderful singing. Extremely pleased with this cd.
A**T
Wonderful Arie Antiche
The imaginative idea to produce a recording around songs from the Parisotti books is brilliant. Totally enjoyable and well researched performances.
C**E
Retour aux sources flamboyant
Retour aux sources nous dit-on. Nathalie Stutzmann nous informe qu’elle et son équipe ont voulu retourner aux compositions originelles retenues par Parisotti pour son recueil d’Airs antiques (Arie Antiche) qu’il a fait publier en 1890. Elle nous invite à un voyage musical d’une remarquable richesse. Luca Dupont-Spirio (Diapason # 663, 12/2017) (Note : 5) écrit : « Modulant les nuances charnues et minérales de son timbre, notre contralto passe d’une atmosphère à l’autre avec une souplesse stupéfiante ».Lindsay Kemp rédige une critique toute en louanges chez Gramophone (01/2018). Nous devons de toute évidence admirer « … la voix riche, profonde de la contralto, son articulation noble, empreinte d’émotion et, lorsque requis, sa virtuosité étincelante ».Nigel Harris (Music Web International, 04/2018) et David Cutler (Fanfare, 41.5, 05-06/2018) sont tous deux d’accord. Il s’agit bien d’un enregistrement tout à fait exceptionnel. Harris qualifie le CD de « real winner » (un vrai gagnant) et lui décerne la mention de ‘Disque du mois’. Un « enregistrement « … conçu avec beaucoup d’intelligence, de créativité et de sympathie, interprété de façon très virtuose et avec beaucoup de dévouement ». Cutler pour sa part souligne le fait que « … Stutzmann et son ensemble (Orfeo 55) sont en tous points convaincants en tant qu’orchestre baroque …» et il ajoute « … c’est un ensemble bien réglé et dirigé d’une façon vivifiante et bien inspirée ». « Un disque hautement recommandé… ».Sur la Toile, on peut consulter cinq autres critiques dont celle de Johan van Veen (Musica dei Donum) qui se dit tout à fait en désaccord avec l’approche de Nathalie Stutzmann. Pour lui il s’agit tout bonnement d’un « travesti musical » et il ajoute : « Il n’y a rien que j’aie véritablement apprécié ».Les quatre autres commentaires sont par ailleurs des plus positifs et constructifs. David Shengold qui écrit pour le réputé magazine américain Opera News (03/2018) décerne un Critic’s Choice à l’enregistrement. Bernard Schreuders (Forum Opéra, 04/2018) (Note : 4/4) est de ceux que « la soliste subjugue », car poursuit-il « … elle n’a pas son pareil pour exalter les rythmes et souligner les contrastes, du gosier comme de la baguette, l’économie des moyens, la subtilité force davantage encore l’admiration ».Même degré d’appréciation de la part de Danielle Anex-Cabanis (Utmisol) qui constate à son tour que « La voix profonde, aux inflexions très chaudes de Nathalie Stutzmann fait merveille dans des registres très différents ». À offrir ou à s’offrir en cadeau à tout moment.Terminons ce survol des appréciations de l’enregistrement réalisé par la contralto, cheffe d’orchestre également et par ses collaborateurs en citant cet extrait d’une chronique parue sur le webzine « En attendant Nadeau » (12/2017). Adrien Cauchie apporte un éclairage intéressant à ces interprétations d’airs parfois bien connus : « D’un air à l’autre, les instruments qui l’accompagnent et qu’elle dirige en chantant changent et créent les atmosphères les plus diverses. Sa voix, qui semble matérielle et malléable à souhait, s’adapte avec beaucoup d’évidence à chaque texture sonore de l’accompagnement. L’album est d’ailleurs ponctué de pièces instrumentales : chaque partie devient tour à tour un chant ou un contre-chant, le tout constituant un véritable interlude dramatique, les musiciens de l’ensemble étant parfaitement au diapason de leur cheffe-chanteuse ». « On perçoit …une nouvelle cohérence dans l’approche musicale de Nathalie Stutzmann : la cheffe et la chanteuse s’insèrent tout naturellement dans un ensemble qui les accueille comme deux de ses membres. Chaque musicien apporte ainsi sa pierre à un édifice tout à fait remarquable ».
R**T
su voz i su gran personalidad
una grabacion excelente...
