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Amanti - Cantatas for Bass

Sergio Foresti

Amanti - Cantatas for Bass

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917289428
Catnr: CC 72894
Release date: 05 November 2021
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Label
Challenge Classics
UPC
0608917289428
Catalogue number
CC 72894
Release date
05 November 2021

"Foresti is little short of magnificent. It’s a triumph, as is the entire disc."

Fanfare Magazine, 01-3-2022
Album
Artist(s)
Composer(s)
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About the album

In the Italian society of the early eighteenth century, the musical genre of the chamber cantata was popular as a refined form of entertainment. The chamber cantata is a relatively short composition, consisting of a couple of arias with the addition of one or two recitatives. They were performed in the private ambiances of the noble circles. A performance just needed the instruments of the basso continuo (harpsichord, cello, and if wanted for example a lute) and of course an excellent voice.

The Venetian composer Benedetto Marcello (1686-1737) was one of the most prolific composers of the genre, especially in his early years between 1710 and 1720. He wrote approximately 300 cantatas of which over 20 for the bass voice. This is an exceptionally high number. The composer strived to achieve a perfect harmony between poetry and music. As such, his cantatas were an invaluable laboratory for his famous Psalms. These were admired by great composers like Rossini, Bizet, Verdi, and Chopin. Verdi especially appreciated Marcello's recitatives.

The present recording offers five chamber cantatas of Marcello for the bass voice. All the cantatas of this recording are in RARA form (Recitative-Aria-Recitative-Aria) and the arias regularly have the da capo form. The recitatives are often unpredictable in their harmonic solutions.

Like most of Marcello's cantatas, they treat the subject of love. But the lovers are not happy. They struggle with the all too human complexity of love: feelings of rejection, sadness, jealousy, hope, and mourning. Their thoughts and feelings are intended to stimulate personal reflection. For Sergio Foresti and his colleagues it was a great joy to explore this music together with its complex feelings and nuances. In the spirit of Benedetto Marcello they seek to express the words and meaning of the text in these virtuosic and beautiful compositions.

Click here for the booklet with Italian, German and French translations.
Dit album van de toonaangevende Italiaanse bas-bariton Sergio Foresti is geheel gewijd aan zelden of nooit opgenomen kamercantates van Benedetto Marcello met als thema de liefde! De internationale pers was alom lovend over ‘Cieco Amor’, het eerste album van deze zanger, die vocale en dramatische uitdagingen aankan en die majestueus buiten zijn register kan treden.

In de Italiaanse samenleving aan het begin van de achttiende eeuw was het succesvolle muzikale genre van de kamercantate, als tegenhanger van de meer publieke opera’s, onderhoudend amusement voor de aristrocatie. In zijn meest wijdverbreide vorm was de cantate een korte compositie, die bestond uit een paar aria’s en een of twee recitatieven. Een uitstekende stem en instrumenten als de basso continuo konden al voldoende zijn voor de uitvoering.

De kamercantates waar de Venetiaanse componist Benedetto Marcello zich, vooral in zijn jonge jaren zo tussen 1710 en 1720, intensief mee bezighield waren van onschatbare eperimentele waarde voor zijn latere beroemde psalmen. In deze opname ‘Amanti Cantatas for bass’ valt te genieten van zes kamercantates die Marcello schreef voor de basstem. Alle cantates zijn in de RARA-vorm (Recitatief-Aria-Recitatief-Aria) gehouden en de aria's hebben regelmatig de da capo-vorm. De recitatieven zijn vaak onvoorspelbaar in hun harmonische oplossingen.

Het thema? De Liefde! Het is een natuurlijke beleving, die moeilijk onder woorden te brengen valt, zo niet onmogelijk, vindt Sergio Foresti. Er zijn veel kunstwerken die de geneugten van de liefde uitdrukken. Soms is het een speelse blik in een schilderij, een zucht in een opera-aria of een tedere houding van een standbeeld.

De geliefden van componist Benedetto Marcello zijn niet gelukkig. Ze worstelen met gevoelens van afwijzing, gewaarwording van bedrog en verraad, jaloezie, hoop en rouw. Hun gedachten en bespiegelingen roepen vragen op als hoe moeten we ermee omgaan, hoe ver kunnen we gaan als het om jaloezie gaat en wiens probleem is het eigenlijk? Maar ook, zijn we bereid moeilijke gevoelens als verdriet te ervaren? Zijn de sombere gevoelens niet gewoon een uiting van het brandende verlangen om samen te zijn met degene van wie we houden? Sergio Foresti heeft er veel plezier in om deze complexe gevoelens in de muziek te verkennen, samen met zijn gewaardeerde collega musici. Bovenal hebben ze met elkaar geprobeerd de Leer van Genegenheid te eren met een reeks barokke richtlijnen om de ziel te beroeren. Voor Sergio is dat in de huidige tijd net zo belangrijk als dat het vroeger was. Muziek maken is immers altijd een daad van liefde.

Sergio Foresti (1968) is een virtuoze Italiaanse bariton met een bijzondere liefde voor muziek uit de 18e en 19e eeuw. Zijn repertoire omvat opera van barok tot laatromantische, sacrale muziek en kamermuziek zoals kunstliederen tot in de 20e eeuw. Hij zingt meestal in het Italiaans, Frans, Duits en Engels. Op dit moment woont hij in Berlijn en Amsterdam. Foresti studeerde af in zowel operazang als piano aan het conservatorium van Modena (Italië). Een decennium later studeerde hij ook af in vocale kamermuziek in Florence (Italië). Vanaf het begin van zijn carrière verdiepte Foresti zich in verschillende muziekstijlen.
In der italienischen Gesellschaft des frühen achtzehnten Jahrhunderts spielte die erfolgreiche Musikgattung der Kammerkantate die Rolle der adligen Unterhaltung. In ihrer am weitesten verbreiteten Form war die Kantate eine kurze Komposition, die aus ein paar Arien und einem oder zwei Rezitativen bestand. Eine ausgezeichnete Stimme und die Instrumente des Basso continuo konnten für die Aufführung ausreichen. Die Kammerkantaten, mit denen sich der venezianische Komponist Benedetto Marcello vor allem in seinen Anfangsjahren von etwa 1710 bis 1720 intensiv beschäftigte, waren ein unbestechliches Experimentierfeld für seine berühmten Psalmen.

Die vorliegende Aufnahme bietet sechs Kammerkantaten von Marcello für die Bassstimme zum Thema Liebe. Alle Kantaten dieser Aufnahme sind in der RARA-Form (Rezitativ-Arie-Rezitativ-Arie) gehalten, und die Arien haben regelmäßig die Da-Capo-Form. Die Rezitative sind oft unvorhersehbar in ihren harmonischen Lösungen.

Die Liebenden von Benedetto Marcello sind nicht glücklich. Sie kämpfen mit Gefühlen der Ablehnung, der Wahrnehmung von Betrug und Verrat, Eifersucht, Hoffnung und Trauer. Ihre Gedanken und Überlegungen werfen Fragen auf. Es macht mir große Freude, diese komplexen Gefühle in der Musik zu erforschen, zusammen mit meinen geschätzten Kollegen. Wir haben uns vor allem bemüht, ausdrucksstark zu sein und die Lehre der Zuneigung zu ehren.

Artist(s)

Sergio Foresti (baritone)

Sergio Foresti (1968) is a virtuoso Italian baritone. He first graduated in both opera singing and piano at the conservatory of Modena (Italy) and a decade later also in vocal chamber music in Florence (Italy). From the start of his career, he explored several musical styles in depth. In polyphonic music, for about 15 years he took the bass part in many concerts and recordings of renaissance madrigals with Concerto Italiano. He even worked with the Italian medieval group LaReverdie. As a soloist he performed sacred music from the early nineties on. His debut in opera in 1998 was as Alcandro in Vivaldi’s L’Olimpiade. Since then he worked with important conductors like René Jacobs, Rinaldo Alessandrini, Fabio Biondi, and Jordi Savall....
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Sergio Foresti (1968) is a virtuoso Italian baritone. He first graduated in both opera singing and piano at the conservatory of Modena (Italy) and a decade later also in vocal chamber music in Florence (Italy). From the start of his career, he explored several musical styles in depth. In polyphonic music, for about 15 years he took the bass part in many concerts and recordings of renaissance madrigals with Concerto Italiano. He even worked with the Italian medieval group LaReverdie.
As a soloist he performed sacred music from the early nineties on. His debut in opera in 1998 was as Alcandro in Vivaldi’s L’Olimpiade. Since then he worked with important conductors like René Jacobs, Rinaldo Alessandrini, Fabio Biondi, and Jordi Savall. He performed on many stages all over Europe.
In 2012 Sergio Foresti moved from Rome to Berlin. He decided to study all over again the belcanto style of singing, which came to life with the invention of opera around 1600. He focused on technical qualities, such as the even placement of the voice, legato singing, flexibility of the voice, and ornamentations like trills. He looked for technical and stylistic insights in the old treatises. He realized that the early recordings of great singers of the past are a treasure trove of examples of how the belcanto principles can be put into practice. He came to the conclusion that music above all is created to move the soul, and that this is the approach he wants to follow.
From this deepened understanding of belcanto, he restudied his operatic and chamber music repertoire. Always working from the music score, he looks for meaningful ways to express the harmony between text and music. While maintaining a strong link to baroque music, he performed in operas of Mozart, Rossini, and Donizetti. In 2018 he released a collection of Italian cantatas of Antonio Caldara with Ensemble Stile Galante. This collection of arias for Giuseppe Maria Boschi is the realisation of and old dream, in collaboration with the fantastic Abchordis Ensemble under Andrea Buccarella.

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Agnieszka Oszanca (cello)

Agnieszka Oszanca studied historical cellos with Viola de Hoog in Utrecht Conservatory, specializing in performance of solo and chamber music repertoire from the early baroque to late romantic period. Her style of playing is often described as fiery and exciting yet stylish and tasteful. She performs regularly with European orchestras and chamber music ensembles, in the most important concert venues and Early Music festivals. She is principal and solo cellist of Ensemble Odyssee and Ensemble Stile Galante, guest principal and solo cellist of Capella Cracoviensis, guest cellist of Fabio Bonizzoni`s La Risonanza and of several other Italian and Polish groups specialized in historically informed performance practice. She appears as a soloist in sonata as well as concerto repertoire and Bach unaccompanied cello...
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Agnieszka Oszanca studied historical cellos with Viola de Hoog in Utrecht Conservatory, specializing in performance of solo and chamber music repertoire from the early baroque to late romantic period. Her style of playing is often described as fiery and exciting yet stylish and tasteful.

She performs regularly with European orchestras and chamber music ensembles, in the most important concert venues and Early Music festivals. She is principal and solo cellist of Ensemble Odyssee and Ensemble Stile Galante, guest principal and solo cellist of Capella Cracoviensis, guest cellist of Fabio Bonizzoni`s La Risonanza and of several other Italian and Polish groups specialized in historically informed performance practice.

She appears as a soloist in sonata as well as concerto repertoire and Bach unaccompanied cello suites. She forms duos with the brilliant harpsichordists Patrycja Domagalska and Fabio Bonizzoni. Agnieszka has recorded for Decca, Sony, Glossa, Alpha, Pan Classics and Globe Records. And teaches baroque cello and chamber music at La Risonanza Barocca International Summer Academy.

Agnieszka plays on a copy of an Italian baroque cello made especially for her by Jan Bobak in 2017.

In her spare time, she loves to experiment in the kitchen and to get lost in the mountains.


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Alessandro Trapasso (harpsichord)

Composer(s)

Press

Foresti is little short of magnificent. It’s a triumph, as is the entire disc.
Fanfare Magazine, 01-3-2022

Sergio Foresti has a fine sturdy voice and an expressive style. He and the ensemble perform expertly..
American Record Guide, 01-3-2022

but here Foresti is more than adequate, as is the ensemble.
Scherzo, 01-2-2022

Foresti is a great singer, with whom everything is in place technically and musically
Luister, 01-2-2022

Limits of taste on which it is lawful to dispute are however not attributable to the interpreters, to whom indeed it goes the applause for trying the difficult undertaking.
Classic Voice, 01-2-2022

Foresti's intensity of delivery is well suited to these passionate characters.
Proper Music Group, 28-1-2022

Sergio Foresti has understood the challenge, which is hardly to sing but above all to speak.
Artamag, 17-1-2022

The pleasure with which I listened to this recital is closely related to the singing of Sergio Foresti, a clearly Italian-trained baritone with a crisp timbre.
Opus Klassiek, 15-4-2021

After the bitter start full of tears and the jealousy in the first aria, Foresti demonstrates his pleasant timbre, beautiful lines and decorations in the final aria.
Opera Nederland

Play album Play album
01.
Udite, amanti SF A356
02:00
(Benedetto Marcello) Alessandro Trapasso, Sergio Foresti, Agnieszka Oszanca, Simone Vallerotonda, Ensemble Due Venti
02.
Udite, amanti SF A356
05:19
(Benedetto Marcello) Agnieszka Oszanca, Simone Vallerotonda, Sergio Foresti, Alessandro Trapasso, Ensemble Due Venti
03.
Udite, amanti SF A356
01:24
(Benedetto Marcello) Simone Vallerotonda, Agnieszka Oszanca, Alessandro Trapasso, Sergio Foresti, Ensemble Due Venti
04.
Udite, amanti SF A356
03:54
(Benedetto Marcello) Agnieszka Oszanca, Sergio Foresti, Alessandro Trapasso, Simone Vallerotonda, Ensemble Due Venti
05.
Che io viva in tante pene SF A55
01:45
(Benedetto Marcello) Agnieszka Oszanca, Alessandro Trapasso, Sergio Foresti, Ensemble Due Venti
06.
Che io viva in tante pene SF A55
05:38
(Benedetto Marcello) Sergio Foresti, Alessandro Trapasso, Agnieszka Oszanca, Ensemble Due Venti
07.
Che io viva in tante pene SF A55
01:24
(Benedetto Marcello) Sergio Foresti, Alessandro Trapasso, Agnieszka Oszanca, Ensemble Due Venti
08.
Che io viva in tante pene SF A55
04:02
(Benedetto Marcello) Sergio Foresti, Alessandro Trapasso, Agnieszka Oszanca, Ensemble Due Venti
09.
Quanta pietà mi fate SF A278
01:21
(Benedetto Marcello) Sergio Foresti, Alessandro Trapasso, Simone Vallerotonda, Agnieszka Oszanca, Ensemble Due Venti
10.
Quanta pietà mi fate SF A278
07:03
(Benedetto Marcello) Sergio Foresti, Alessandro Trapasso, Simone Vallerotonda, Agnieszka Oszanca, Ensemble Due Venti
11.
Quanta pietà mi fate SF A278
01:18
(Benedetto Marcello) Sergio Foresti, Alessandro Trapasso, Simone Vallerotonda, Agnieszka Oszanca, Ensemble Due Venti
12.
Quanta pietà mi fate SF A278
10:26
(Benedetto Marcello) Sergio Foresti, Alessandro Trapasso, Simone Vallerotonda, Agnieszka Oszanca, Ensemble Due Venti
13.
Lungi, speranze SF A182
01:18
(Benedetto Marcello) Sergio Foresti, Alessandro Trapasso, Agnieszka Oszanca, Ensemble Due Venti
14.
Lungi, speranze SF A182
03:03
(Benedetto Marcello) Sergio Foresti, Alessandro Trapasso, Agnieszka Oszanca, Ensemble Due Venti
15.
Lungi, speranze SF A182
01:11
(Benedetto Marcello) Sergio Foresti, Alessandro Trapasso, Agnieszka Oszanca, Ensemble Due Venti
16.
Lungi, speranze SF A182
09:41
(Benedetto Marcello) Alessandro Trapasso, Sergio Foresti, Agnieszka Oszanca, Ensemble Due Venti
17.
Poiché fato inumano SF A252
01:44
(Benedetto Marcello) Sergio Foresti, Alessandro Trapasso, Simone Vallerotonda, Agnieszka Oszanca, Ensemble Due Venti
18.
Poiché fato inumano SF A252
04:50
(Benedetto Marcello) Alessandro Trapasso, Sergio Foresti, Simone Vallerotonda, Agnieszka Oszanca, Ensemble Due Venti
19.
Poiché fato inumano SF A252
01:43
(Benedetto Marcello) Sergio Foresti, Alessandro Trapasso, Simone Vallerotonda, Agnieszka Oszanca, Ensemble Due Venti
20.
Poiché fato inumano SF A252
03:24
(Benedetto Marcello) Sergio Foresti, Alessandro Trapasso, Simone Vallerotonda, Agnieszka Oszanca, Ensemble Due Venti
show all tracks

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