Max Cencic, Il Pomo d’Oro, Maxim Emelyanychev – Arie Napoletane: Max Emanuel Cencic (2015) [FLAC 24bit, 96 kHz]

Max Cencic, Il Pomo d'Oro, Maxim Emelyanychev - Arie Napoletane: Max Emanuel Cencic (2015) [FLAC 24bit, 96 kHz] Download

Artist: Max Cencic, Il Pomo d’Oro, Maxim Emelyanychev
Album: Arie Napoletane: Max Emanuel Cencic
Genre: Classical
Release Date: 2015
Audio Format:: FLAC (tracks) 24bit, 96 kHz
Duration: 01:15:29
Total Tracks: 14
Total Size: 1,38 GB


Nicolai Porpora (1686–1768)
01 | Polifemo: “Quel vasto quel fiero” * 00:03:38

Leonardo Leo (1694–1744)
02 | Demetrio: “Dal suo gentil sembiante” * 00:08:56

Leonardo Vinci (1696–1730)
03 | Eraclea: “In questa mia tempesta” 00:04:19

Alessandro Scarlatti (1660–1725)
04 | Il Prigioniero Fortunato: “Miei pensieri” * 00:05:00
05 | Cambise: “Tutto appoggio il mio disegno” * 00:03:07

Giovanni Battista Pergolesi (1710–1736)
06 | L’Olimpiade: “L’infelice in questo stato” 00:06:51

Leonardo Leo
07 | Scipione nelle Spagne: “Non fidi al mar che freme” * 00:04:17
08 | Siface: “No, non vedete mai” * 00:08:19

Alessandro Scarlatti
09 | Il Tigrane: “Care pupille belle” * 00:05:10

Nicolai Porpora
10 | Germanico in Germania: “Qual turbine che scende” * 00:06:56
11 | Massimo Puppieno: “Vago mio sole” 00:03:19

Domenico Auletta (16x–1747)
Concerto in D Major for Harpsichord, Two Violins & Continuo *
12 | I. Allegro con spirito 00:05:00
13 | II. Largo ma non tanto 00:07:37
14 | III. Allegro 00:02:52


This is clearly a treasure trove of forgotten opera arias . . . an accomplishment that seems near effortless. Blurring the traditional gender stereotype his androgynous tone adds invigorating and adventurous elements to these focused and impeccably controlled performances — so full of life. There is a striking purity to the counter-tenor’s dusky timbre together with a steadfast technique . . . The quality of each aria is consistently high and I have selected several highlights. Praiseworthy is Porpora’s quick and exciting “Quel vasto, quel fiero” from “Polifemo”. Cencic in decisive form as the heroic Ulysses demonstrates his aptitude for the technical challenges. In the title role the tender and affecting love song “Dal suo gentil sembiante” from Leo’s “Demetrio” is an excellent example of Cencic’s lovely smooth line with some modest ornamentation and a gloriously fluid glide to his high registers . . . There’s a vivid presence to the sonics of this satisfyingly balanced and admirably presented recording. Lovers of Late-Baroque opera and the counter-tenor voice will be in their element. Those new to this repertoire need not hesitate. Max Emanuel Cencic is in magnificent form with these high quality, yet inexplicably forgotten, arias.

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