Artist: Francesca Aspromonte, il pomo d’oro
Album: Prologue
Genre: Classical
Release Date: 2018
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:14:30
Total Tracks: 12
Total Size: 1,40 GB

Tracklist:

1-01. Francesca Aspromonte, il pomo d’oro – L’Orfeo, SV 318: Toccata-Dal mio Permesso amato (07:22)
1-02. Francesca Aspromonte, il pomo d’oro – L’Euridice: Io che d’alti sospir (03:58)
1-03. Francesca Aspromonte, il pomo d’oro – La Didone: Sinfonia-Caduta è Troia (04:03)
1-04. Francesca Aspromonte, il pomo d’oro – Eritrea: Nelle grotte arimaspe (03:29)
1-05. Francesca Aspromonte, il pomo d’oro – Sant’Alessio: Sinfonia-Roma son io (09:54)
1-06. Francesca Aspromonte, il pomo d’oro – Il palazzo incantato, ovvero La guerriera amante: Vaghi rivi (03:22)
1-07. Francesca Aspromonte, il pomo d’oro – L’Ormindo: Sinfonia-Non mi è Patria l’Olimpo (07:24)
1-08. Francesca Aspromonte, il pomo d’oro – Il pomo d’oro: Sinfonia-Amore et Imeneo (06:12)
1-09. Francesca Aspromonte, il pomo d’oro – Sinfonia for 2 Violins & Continuo in A Minor (06:42)
1-10. Francesca Aspromonte, il pomo d’oro – L’Argia: Sinfonia-De’ gotici splendori (05:03)
1-11. Francesca Aspromonte, il pomo d’oro – Con meste luci (09:19)
1-12. Francesca Aspromonte, il pomo d’oro – Gli equivoci in amore, o vero La Rosaura: Sinfonia-Cessate, oh fulmini! (07:37)

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A record made up entirely of prologues from operas and baroque oratorios: this album isn’t short on spice. Prologues are completely different from the – purely orchestral – overtures of later operas, as in the baroque era, after a short instrumental introduction, we’d get right into the action, often with a sung allegorical exposition of the setting and the story. Soprano Francesca Aspromonte and Enrico Onofri have collected these allegories with il pomo d’oro (the ensemble has decided that its name will be all lowercase), taken from the late 16th century with Monteverdi and Caccini up to the first quarter of the 18th century with Alessandro Scarlatti, via the rich beauty of the middle 17th century of Cavalli, Rossi, Stradella and Cesti. The listener will have to come to terms with the fact that the opera will never really start, that these are only the premises, the first tremblings, tantalising tasters, aimed at captivating the audience. Don’t forget that in those days, it wasn’t the custom to remain silent before the start of a show, and it took all the talents of the allegorist to finally get the fans’ full attention. We reckon that Francesca Aspromonte will have no trouble captivating her audience.