Jakub Jozef Orlinski: Anima Aeterna
£15.15
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Label: Erato
Cat No: 9029674390
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 5th November 2021
Contents
Works
La GiudittaIl Davide trionfante
Laetatus sum, ZWV90
Artists
Jakub Jozef Orlinski (countertenor)Fatma Said (soprano)
Il pomo d’oro
Conductor
Francesco CortiWorks
La GiudittaIl Davide trionfante
Laetatus sum, ZWV90
Artists
Jakub Jozef Orlinski (countertenor)Fatma Said (soprano)
Il pomo d’oro
Conductor
Francesco CortiAbout
Sound/Video
Paused
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1Zelenka - Barbara dira effera, ZWV 164 - I. Barbara dira effera
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2Zelenka - Barbara dira effera, ZWV 164 - II. Vicit leo de tribu Juda
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3Zelenka - Barbara dira effera, ZWV 164 - III. Alleluia
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4Fux - Il fonte della salute - 'Non t'amo per il ciel'
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5Zelenka - Laetatus sum, ZWV 90 - I. Laetatus sum. Allegro assai
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6Zelenka - Laetatus sum, ZWV 90 - II. Illuc enim. Allegro assai
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7Zelenka - Laetatus sum, ZWV 90 - III. Rogate. Andante
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8Zelenka - Laetatus sum, ZWV 90 - IV. Fiat pax. Larghetto
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9Zelenka - Laetatus sum, ZWV 90 - V. Gloria. Adagio
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10Zelenka - Laetatus sum, ZWV 90 - VI. Sicut erat. Allegro assai
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11Francisco António de Almeida - La Giuditta - 'Giusto Dio'
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12Nucci - Il Davide Trionfante - 'Un giusto furore che m'arde nel core'
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13Manna - Laudate pueri in F Major - I. Laudate pueri, laudate dominum
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14Manna - Laudate pueri in F Major - II. Quis sicut dominus
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15Manna - Laudate pueri in F Major - III. Suscitans a terra inopem
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16Manna - Laudate pueri in F Major - IV. Gloria
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17Manna - Laudate pueri in F Major - V. Sicut erat in principio - Amen
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18Handel - Antiphon in D Minor, HWV 269
Europadisc Review
Vitality, wildness and danger are immediately in evidence in the opening work, Jan Dismas Zelenka’s celebrated solo motet Barbara, dira, effera, ZWV 164, where Orliński instantly grabs the listener’s attention with singing that combines a rich, powerful tone with astonishing vocal agility, not least in the first of its three movements where the soloist (originally the great 18th-century castrato Domenico Annibali) competes with a feisty solo bassoon soloist (played here with considerable panache by Michele Fattori). This is exactly the sort of committed performance that Zelenka’s bold imaginative, music needs, and in the other Zelenka work on the disc, the five-movement Laetatus sum, ZWV 90, Orliński is joined by star soprano Fatma Said (recently announced as Gramophone’s new Young Artist of the Year) for a performance that is every bit as thrilling, Said’s luminously bright voice contrasting pleasingly with Orliński’s more burnished, velvety sound. There’s palpable excitement in the soprano solo ‘Illuc enim’, where Said rises magnificently to a top D, while the countertenor’s more reflective ‘Fiat pax’ is enhanced by a pair of flutes, but it’s the immediately preceding ‘Rogate’ – with Said and Orliński’s voices dreamily entwining – that is the real highlight here.
In between the two Zelenka items is the aria ‘Non t’amo per il ciel’ from Johann Joseph Fux’s Passiontide oratorio Il Fonte della salute, strikingly scored for voice and grainy-toned baryton (as later famously used by Haydn) to evoke the feelings of the repentant sinner at the Crucifixion. More tender still is ‘Giusto Dio’ from Francisco António de Almeida’s Il Giustino, where the refined textures from layers of gently inflected sustained upper strings, supported here by wistful theorbo continuo, are matched by the sensitivity and suppleness of Orliński’s tone. Striking contrast is provided by another rarity: the martial ‘Un giusto furore’ (complete with brilliant trumpet solo from Gabriele Cassone) taken from Bartolomeo Nucci’s Il Davide trionfale. This was discovered by Yannis François in California and is apparently the first commercial recording of this virtually unknown composer’s music. If there’s more music of such quality from his pen, it’s eminently worth uncovering.
Gennaro Manna’s five-movement setting of Psalm 113, Laudate pueri, for alto, choir and orchestra, is another great discovery, its scoring (including a pair of horns) and style approaching the mid-century emergence of the Classical style, and the choir (discreetly balanced here) offsetting the solo voice most effectively. Orliński’s tone here, while still spirited, is more genial and relaxed in keeping with the galant inflections of the music, which are not so distant from Haydn in ecclesiastical mode. The disc winds up, however, with a surprisingly soft-hued and reflective antiphon, Alleluja, Amen, HWV 269, for voice and continuo composed around 1749 by Handel. One of the composer’s lesser-known works (there is only one other recording in the current catalogue), it makes an ideal conclusion for a disc that is full of surprises but oozes class throughout. Enhanced by an intimate recorded sound, and featuring superb singing and excellent instrumental support, this imaginatively conceived programme makes required listening for all Baroque music lovers, and ultimately achieves that ‘mesmerizing … healing’ quality of which Orliński writes.
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