Marina Viotti, Gli Angeli Genève, Stephan MacLeod
AP350 - 1CD - 64' - Jun 7, 2024
And Mozart created the mezzo?
In Mozart’s day, the vocal typologies that we know today were yet to be established. Women were sopranos, castrati were castrati, and Mozart wrote for personalities and vocal colours rather than for abstract voice types. Providing we set aside the labels that are used nowadays, a female singer can cover a whole range of expressive and dramatic possibilities in Mozart’s works, and take on the roles of many different characters, including those belonging to the rich repertoire that Mozart bestowed on castrato voices.
With the help of Stephan MacLeod, at the helm of his ensemble Gli Angeli Genève, Marina Viotti has put together a programme that embraces the diversity and versatility of Mozart’s vocalism.
WOLFGFANG AMADEUS MOZART
Così fan tutte K. 588
1. Recitativo “Ah, scostati” (Dorabella)
2. Aria “Smanie implacabili”
Ch’io mi scordi di te K. 505
3. Recitativo “Ch’io mi scordi di te”
4. Rondo “Non temer, amato bene”
Le nozze di Figaro K. 492
5. Recitativo “Giunse alfin il momento” (Susanna)
6. Aria “Deh vieni, non tardar”
7. Mitridate, rè di Ponto K. 87: Aria “Venga pur, minacci e frema” (Farnace)
Ascanio in Alba K. 111
8. Recitativo “Perchè tacer degg’io?” (Ascanio)
9. Aria “Cara, lontano ancora”
Exsultate, jubilate K. 165
10. I. Allegro: Exsultate, jubilate
11. II. Recitativo secco: Fulget amica dies
12. III. Andante: Tu virginum corona
13. IV. Allegro: Alleluja
14. Le nozze di Figaro K. 492: Arietta “Voi che sapete” (Cherubino)
15. La finta giardiniera K. 196: Aria “Va’ pure ad altri in braccio” (Ramiro)
16. La clemenza di Tito K. 621: Aria “Parto, ma tu ben mio” (Sesto)
17. Mass in C minor K. 427: Laudamus te
