When you listen to Falvetti's Nabucco, you’ll discover a brilliant baroque oratorio with Mediterranean inspirations. Under the baton of Leonardo García Alarcón, Cappella Mediterranea and the Chœur de Chambre de Namur strike the perfect balance between instrumental passages and arias in a recording that is replete with joy and vigour.
Carmina Latina is made up of Spanish and South American works from the 16th and 17th centuries. It is as much a journey back in time as a skillful blend of Baroque mysticism, exotic fervour and contemporary energy.
The programme featured in this album is built upon the dreams of Monteverdi, Cavalli, Rossi and Provenzale, four of Italy’s greatest opera composers in the seventeenth century. It marks Anne Sofie von Otter's return to Baroque repertoire, which she already immortalised fifteen years ago in an album produced with Archiv Produktion, in collaboration with Musica Antiqua Köln.
The madrigal and the tango are musical twin souls that conjure up nostalgia, pain and ecstasy. In a bold move, the remarkable artists of Cappella Mediterranea bring together Monteverdi and Piazzolla, transporting us to a distant dreamland with their gift for improvisation.
The music of Giovanni Giorgi and his contemporaries allows us to unearth the treasures of the Roman chapels and better understand the history of contrapuntal writing in eighteenth-century Rome.
Forgotten for three centuries, Falvetti's Il Diluvio universale is a work of unparallelled originality. This first-ever recording of this masterpiece conjures up the Sicilian Baroque imagining of Noah's Ark. The powerful choirs and dazzling soloists are led by Leonardo García Alarcón.
Leonardo García Alarcón returns to Ambronay Éditions with this recording of Dido and Æneas, accompanied by a cast of gifted young singers bursting with vitality. His interpretation focuses on the links between England and Spain, as Carthage lurks behind Purcell's innovations and Monteverdi's revolution.
In this new album devoted to Mateo Romero’s secular compositions, Cappella Mediterranea continues Fuga Libera’s survey of the Belgian-born Spanish composer’s work. When you listen to these arias for three and four voices, you can not only detect the influence of Iberian music, but also the Italian madrigal, Franco-Flemish polyphony, and all that heralds the birth of opera.
Barbara Strozzi was not only a virtuosic singer but also a talented composer. Following in the footsteps of Monteverdi, her vocal compositions display an array of different styles through which she expresses the intensity of human emotion.