Filippo Maria Bressan, Academia de li Musici - Antonio Calegari: La Resurrezione di Lazzaro (2001)
Filippo Maria Bressan, Academia de li Musici - Antonio Calegari: La Resurrezione di Lazzaro (2001)
EAC | FLAC | Image (Cue & Log) ~ 324 Mb | Total time: 78:11 | Scans included
Classical | Label: Chandos | # CHAN 0673 | Recorded: 2000
EAC | FLAC | Image (Cue & Log) ~ 324 Mb | Total time: 78:11 | Scans included
Classical | Label: Chandos | # CHAN 0673 | Recorded: 2000
An oratorio / cantata type composition by a little known eighteenth century musician written when he was only twenty two does not sound too promising. However, with this convincing performance there is much to enjoy.
Calegari was a direct contemporary of Mozart who died within a year of Schubert and Beethoven. His career thus straddled the classical period and early romanticism. Stylistically his music reflects this. La Resurrezione di Lazzaro is his earliest surviving work. Although considering himself primarily a fashionable opera composer, he wrote several sacred works (though none after 1801) and these tend to be in a backward looking style. La Resurrezione di Lazzaro has characteristics of the sacred musical play about it. The text is sung by characters directly involved in the biblical drama taken from the gospel of St John – Christ, Thomas, Magdelene, Martha and the risen Lazarus himself – who actually interact. A chorus has a relatively minor role.
To enjoy this work with modern ears it is as well to get in the mood for a Metastasian drama. Metastasio, still alive at the time of La Resurrezione, had been so influential as a librettist that he had exerted a stranglehold on the style and formatting of musical drama that was only just beginning to break down. Characteristics included sophisticated poetic texts that were nevertheless clear and direct, intensity of emotion achieved through restraint rather than a heart-on-sleeve approach and the imparting of a worthy and communicable message.
These features are certainly present in this work. After the conventional opening Sinfonia, admittedly one that could be transferable to any work of the type, the drama gets straight to the point with the words "Morte, morte" in a mournful chorus that interacts with Martha. Christ soon makes his entry, asking why so much grief? The story is well under way. But we have just hit another problem for the listener. Christ is sung by a woman. At least it is on this disc. In 1789 it was sung by a castrato in keeping with another Italian tradition that was not to last too much longer. It may take getting used to but if people can flock to see Hamlet played by a woman in contemporary London, then maybe it is not such a problem. Clearly the dramatic centrepiece of this work is the point at which Lazarus is "raised". It is handled with powerful restraint, Christ calling on his Father for help then issuing the order to "rise". Lazarus replies sleepily then sings a number that gradually winds up in excitement as his situation dawns. It sounds and feels like an animal waking from hibernation to a spring day. The happy end of the work has a "death is defied" theme and ends suitably with grand chorusing.
What carries this work from being a worthy curiosity to being an enjoyable listening experience in its own right is the performance. The Academia de li Musici is a distinguished early music outfit and the chorus is supplied by the equally distinguished and versatile Athestis Chorus. I like the playing of the Academia under Filippo Bressan very much . They have achieved fine consistency of style, especially in the matter of "authentic" reduced vibrato. Their clearly executed, no-nonsense playing suits the work so well.–John Leeman
Performer:
Cristo - Roberta Giua
Tommaso - Luca Dordolo
Maddalene - Rosita Frisani
Marta - Manuela Custer
Lazzaro - Salvo Vitale
Athestis Chorus
Academia de li Musici
Conductor - Filippo Maria Bressan
Tracklist:
Antonio Calegari (1757-1828)
La resurrezione di Lazzaro, Sacred drama (1779)
01. Concertone (sinfonia)
02. Chorus and Duet. Chorus: 'Morte, morte'
03. Recitative. Christ: 'Miei fidi'
04. Duet and Chorus. Magdalene, Martha: 'Dolce speme alfin rinasce'
05. Recitative. Martha: 'Deh, perché mai'
06. Aria. Martha: 'Dal cener suo risorto'
07. Recitative. Magdalene: 'A tu che leggi in cor'
08. Aria. Magdalene: 'Morte ingiusta'
09. Recitative. Christ: 'Figlia, è giusto il tuo pianto'
10. Aria. Christ: 'Figli, di voi fu scritta'
11. Accompanied recitative. Thomas: 'Ah perché non poss'io la fonte amara'
12. Aria. Thomas: 'Figlio di un Dio, che impera'
13. Recitative. Magdalene: 'Ah sì, t'arrendi o padre'
14. Cavatina. Christ: 'Queste, che innondano'
15. Accompanied recitative. Magdalene: 'A tal vista io non reggo'
16. Aria. Lazarus: 'Man feconda di prodigi'
17. Recitative. Christ: 'Vieni amico al mio seno'
18. Duet and Chorus. Magdalene: 'Piango, e nel pianto innondami'
19. Recitative. Lazarus: 'Umana cecità'
20. Chorus and Trio. Chorus: 'Signor, tra i sacri Cantici'
21. Final Chorus. 'Con Cetre, e Trombe, e Cembali'
Exact Audio Copy V1.1 from 23. June 2015
EAC extraction logfile from 15. August 2020, 12:52
Filippo Maria Bressan, Academia de li Musici / Calegari - La risurrezione di Lazzaro
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==== Log checksum D2C83A15729A5FA71969772231510DD70945536F1AEAC777FC22708EBBC14C45 ====
Filippo Maria Bressan, Academia de li Musici - Antonio Calegari: La Resurrezione di Lazzaro (2001)
Thanks to the original releaser