Vivica Genaux: Arias
£14.20
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Label: Erato
Cat No: 2564609830
Format: CD
Number of Discs: 3
Genre: Opera
Release Date: 11th September 2015
Contents
Works
Alahor in GranadaOrlando, HWV31
Il barbiere di Siviglia (The Barber of Seville)
Artists
Vivica Genaux (mezzo-soprano)Works
Alahor in GranadaOrlando, HWV31
Il barbiere di Siviglia (The Barber of Seville)
Artists
Vivica Genaux (mezzo-soprano)About
This 3CD box unites three recitals that showcase the virtuosity, elegance and expressivity of mezzo-soprano Vivica Genaux. Together, the programmes, recorded between 2003 and 2009, offer a survey of the repertoire that has figured most strongly in Genaux’s career – music from the 18th and early 19th centuries by Vivaldi, Handel, Hasse, Rossini and Donizetti.
The spectacular recital of arias by Vivaldi, ‘Pyrotechnics’, was nominated for a Grammy Award in 2010.
Contents:
CD 1 - Bel canto arias (Rossini and Donizetti)
It was in Rossini that Vivica Genaux first made her name, particularly as Rosina in Il barbiere de Siviglia. Writing about this album, Time Out New York wrote: “Genaux might be the most exciting singer in the world. Sinewy but lithe, her voice encompasses a wine-rich chest register, juiced up with just enough testosterone to keep things interesting, as well as luminous high notes that would do many a soprano proud. Her Italian is crisp and peppery, and she rips through pages of runs and embellishments with jaw-dropping ease.”
CD 2 - Arias by Handel and Hasse
The first Baroque role that Vivica Genaux sung was in Handel’s Ariodante, but she went on to make a particular speciality of the music of Hasse. Reviewing this album, Gramophone wrote: “Three well-crafted arias from Hasse’s Arminio are ideal fare for Genaux’s pinpoint accuracy and florid ornamentation, and his cantata La Scusa is the most enjoyable revelation (its 10-minute aria ‘Trova un sol’ has ravishing use of flutes and horns).”
CD 3 - Vivaldi: ‘Pyrotechnics’
Vivaldi expert Frédéric Delamea wrote: “The dazzling arias in this programme – some of which have never been recorded or, indeed, performed in concert – illustrate the different phases and forms of Vivaldian pyrotechnics, exploring every emotion and the most diverse dramatic situations, and continually varying instrumentation, tonality and tempo. The composer ... flamboyant as ever, sets his unique operatic stamp.”
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