On the CD which comes with this, the first volume of ‘100% Gypsy Guitar’, each piece of music is recorded twice : first guitar with a backing band, second with just the band (playback) for you to practise with.All the things you are - Caravan - Djan - How high the moon - I got rhythm - Lady be good - Les feuilles mortes - Les yeux noirs - Minor blues - Swing gitan
Opus 111's Vivaldi: 'La verità in cimento' is the first complete recording of Antonio Vivaldi's 1720 opera, made in conjunction with a revival of this work at the Bologna Festival, albeit with a different group of singers. This recording has an excellent frontline cast, including veteran singers such as Anthony Rolfe Johnson, Gemma Bertagnolli, Guillemette Laurens, Nathalie Stutzmann, and Sara Mingardo and Philippe Jaroussky. The band is Ensemble Matheus under the direction of Jean-Christophe Spinosi, and the instrumental complement is especially aggressive in executing extreme dynamics in Vivaldi. Some may find it a bit much; Spinosi's group almost makes Fabio Biondi sound romantic in approach, though conversely in Europe its work has been very well received overall. This is an extraordinary opera by anyone's standards, an outstanding selection being the ethereal trio, "Aure placide, e serene," featuring the combined talents of Bertagnolli, Mingardo and Jaroussky. Those looking for the aria "La pena amara" – stated in a popular published edition of Vivaldi's arias as belonging to La verità in cimento, but perhaps not so – will be disappointed. However, another aria from this work, "Amato ben tu sei la mia speranza," has developed a life of its own and is performed splendidly well here by Gemma Bertagnolli. Vivaldi's story is a comedy of errors set in the court of a Turkish sultan and is rife with numerous deceptions, foils, and intrigues.
La Fida Ninfa premiered during the Verona carnival of 1732 at the Teatro Filarmonico. The work was composed to help celebrate the opening of the theatre, which had been postponed for two years, since at that time, the city had been surrounded by foreign military troops. The production was spectacular, and included elaborate ballets by Andrea Cattani, a famous ballet master from Poland, as well as sumptuous sets by Francesco Bibiena. “Vivaldi's score is a ravishing one, offering a rewarding sequence of beguiling arias, duets, a trio and a quartet. Sandrine Piau (Licori) and Verónica Cangemi (Morasto) take on the considerable vocal challenges of demanding roles with their usual tonal warmth and bravura, while Marie-Nicole Lemieux (Elpina) provides the necessary emotional contrasts. Topi Lehtipuu is a touchingly melancholic Narete, and Philippe Jaroussky an eloquently, sometimes passionately love-sick Osmino. Altogether a splendid achievement by Jean-Christophe Spinosi and his musicians.” (BBC Music Magazine)
Diving into Vivaldi's Orlando furioso with Jean-Christophe Spinosi, Matheus Ensemble, and a shockingly good cast is enough to make even the most jaded listener smile. It is fresh, unrelentingly impressive, and entertaining to a fault. The opera is over-plotted: the first paragraph of the synopsis is enough to confuse anyone not taking notes. And listening to the entire thing would amount to more flowery, athletic vocalism than most can stand in one sitting. But those with the remotest interest in Vivaldi opera, or opera at all, will be hard pressed not to marvel at the quality of what's recorded here. Spinosi is a brilliant Vivaldian who pulls sweet-toned lyricism and down-and-dirty sawing from his Matheus Ensemble, making the most of the composer's rich orchestration. And the cast pulls one rabbit after another out of its collective hat, tackling Vivaldi's consummately difficult arias with élan.
Jean-Christophe Rufin a suivi à pied, sur plus de huit cents kilomètres, le « Chemin du Nord » jusqu'à Saint-Jacques-de-Compostelle. Beaucoup moins fréquenté que la voie habituelle des pèlerins, cet itinéraire longe les côtes basque et cantabrique puis traverse les montagnes sauvages des Asturies et de Galice. …