Ann Hallenberg, Stefano Aresi, Stile Galante – The Farinelli Manuscript (2019) [FLAC 24bit, 96 kHz]

Ann Hallenberg, Stefano Aresi, Stile Galante - The Farinelli Manuscript (2019) [FLAC 24bit, 96 kHz] Download

Artist: Ann Hallenberg, Stefano Aresi, Stile Galante
Album: The Farinelli Manuscript
Genre: Classical
Release Date: 2019
Audio Format:: FLAC (tracks) 24bit, 96 kHz
Duration: 01:12:02
Total Tracks: 8
Total Size: 1,33 GB


1. Ann Hallenberg – Mitridate: Son qual nave che agitata (13:05)
2. Ann Hallenberg – Il nata de Giove: Vuoi per sempre abbandonarmi? (11:05)
3. Ann Hallenberg – La festa cinese: Ogni dì più molesto (01:41)
4. Ann Hallenberg – La festa cinese: Non sperar, non lusingarti (10:23)
5. Ann Hallenberg – Merope: Quell’usignolo (10:36)
6. Ann Hallenberg – Armida placata: Io sperai del porto in seno (09:59)
7. Ann Hallenberg – Sabrina: Invan ti chiamo, invan ti cerco, amato (03:12)
8. Ann Hallenberg – Sabrina: Al dolor che vo’ sfogando (11:57)


With “The Farinelli Manuscript” Ann Hallenberg, accompanied by Stefano Aresi and Stile Galante, offers a scintillating reading of the music known to have been sung by the castrato Carlo Broschi during his 23-year stay in Spain (and sent as a present to the Empress Maria Theresa). Described as “a force of nature”, displaying flawless coloratura and a purity of timbre, the Swedish mezzo-soprano follows her previous appearance on Glossa with Aresi (a recording devoted to music associated with the later castrato Luigi Marchesi) with a spirited demonstration of the musicality which so attracted Farinelli to listeners at the Spanish court.Enticed to Madrid at the height of his powers in 1737 Farinelli provided regular concerts for the Spanish queens, Elisabetta Farnese and Maria Barbara de Bragança and their respective husbands, Felipe V and Fernando VI, singing some 8 or 9 arias at these “soirées”. According to present-day attributions, amongst the compositional hands discernible in the manuscript is the work of musicians active in Madrid: Niccolo Conforto, Giovanni Battista Mele and Farinelli himself. The music of other prominent Italian composers of the time – Giay, Latilla and Giacomelli – also appear in the manuscript. Hallenberg sings the written-out ornaments and da capos appearing in Farinelli’s manuscript, with Aresi providing others and following the precise instrumentation and ensemble layout as detailed in court archives. Aresi also contributes an essay for the booklet which continues the debunking of historical misinformation surrounding Farinelli’s time in Madrid.

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