Vibrazioni Productions - Suoni Nella Notte - COMPACT DISCS [CD]

Indy only.

Here is the third and last instalment in the 'Live at the Théâtre des Champs-Élysées' series of Mozart operas conducted by Jérémie Rhorer. After Die Entfuhrung aus dem Serail and La clemenza di Tito comes Don Giovanni, recorded in 2016. On the occasion of the performances (directed by Stéphane Braunschweig) during which Radio France recorded the present discs, Le Figaro wrote 'Jérémie Rhorer expertly conducted his orchestra InchLe Cercle de l'HarmonieInch. On the stage, Jean-Sébastien Bou sang and acted the title role impeccably. He was seconded by his valet Leporello, superbly played by the Canadian Robert Gleadow. A thrilling production both musically and intellectually.' The cast is completed by the ardent Myrtò Papatanasiu in the role of Donna Anna, the lovely voice of Julie Boulianne as Donna Elvira and the elegant timbre of Julien Behr as Don Ottavio, not forgetting the magnificent Commendatore of Steven Humes and the lively Zerlina and Masetto of Anna Grevelius and Marc Scoffoni.

Following the publication of the collection Parnassus Musicus Ferdinandaeus in 1615; all kinds of compiled collections of sacred music started to appear; often featuring music for smaller ensembles and of course; in the new early-Baroque style; music scored for voice; instruments and basso continuo. The compiler; usually a composer himself; gathered works from his colleagues; added some of his own work and had the collection published. Nowadays because of copyright this would be unimaginable; particularly if publishing the compositions of one's own contemporaries. We do not actually know exactly how and why editors and composers actually compiled these collections. Sometimes self-interest played a role; because if a somewhat less-lauded composer provided his volume with a work by Monteverdi; it added to the status of the collection. After all; Monteverdi was the highly esteemed Maestro di Capella from Venice at the time; who moreover composed operas commissioned by quite a few courts in what we now call northern Italy. It may also have been a statement by including the music of others; appreciation was expressed for the work of colleagues. It may also have been that the compiler thought it important to publish a volume that gave a representative sample of what was being written in a particular period and region. We unfortunately do not know whether Monteverdi received any compensation for lending his work to these tomes; either. People discovered; edited; watched and listened to what others were doing; then took advantage of it. In any case; we can be grateful that; thanks to these collections; we have more of Monteverdi's music at our disposal. His letters show that his responsibilities organising the religious music for Venice constituted an enormous task; and that he was also required to work for other patrons. The fact that he requested an assistant for a long ti