Cheap Scarlatti Cantatas, Volume III / McGegan, Brian Asawa (Music) (Alessandro Scarlatti, Brian Asawa, Arcadian Academy) Price
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Asawa's operatic voice is high and feminine, which suits Scarlatti, as he composed these cantatas for castrati. All but one are about love, especially the pain of it, which is ironic because the castrati were incapable of it. Asawa sighs and keens with beautiful self-pity as he suffers the cutting edge of Cupid's darts in "Nel silenzio." In "Ferma Omai," he weeps, rejected by a fleeing shepherdess (very Arcadian). In "Clori Vezzosa," he blames his love for his anguish and in "Piango Sospiri e Peno," misery itself makes him miserable. In "Non so qual," he is happy, but that is because Jesus has been born and women are not involved. Conductor Nicholas McGegan keeps the sad, dry, silver strings moving. The harpsichord adds a sparkling continuo and the archlute and theorbo plunk audibly in the background when nothing else is happening. --Rick Jones
| ARTIST: | Alessandro Scarlatti, Brian Asawa, Arcadian Academy |
| CATEGORY: | Music |
| MANUFACTURER: | Conifer |
| TYPE: | Classical, Classical Vocals, Vocal |
| MEDIA: | Audio CD |
| TRACKS: | Nel Silenzio Comune: Intro - Grave - Arcadian Academy/Nicholas McGegan, Nel Silenzio Comune: Corrente, Nel Silenzio Comune: Minuetto, Nel Silenzio Comune: Recitativo Accompagnato: Nel Silenzio Comune, Nel Silenzio Comune: Aria- Largo: Nel Dormir L' Anima Mia, Nel Silenzio Comune: Recitativo: E Pure, E Pure Voi Dormite, Nel Silenzio Comune: Aria: Andante: Pupille Care, Nel Silenzio Comune: Recitativo: Ma No, Dormi, Ben Mio, Nel Silenzio Comune: Aria: Se Negasti Vegliando, Nel Silenzio Comune: Recitativo: Filli, Filli Crudele Destati, Nel Silenzio Comune: Aria: A Tempo Giusto: Accio Che Rimbombe Intorno Al Ben Mio, Ferma Omai: Andante: Moderato: Ferma Omai, Ferma Omai: Recitativo: Ov'unque Il Guardo Giri, Ferma Omai: Andante: Giusto: Va', Va' Che I Lamenti Miei, Clori Vezzosa, E Bella: Recitativo: Clori Vezzosa, E Bella, Clori Vezzosa, E Bella: Aria - Andante: Lento: Volgi Lo Sguardo, Clori Vezzosa, E Bella: Recitativo: Vivo, Vivo Penando, Clori Vezzosa, E Bella: Aria - Allegro: Si, Ben Mio Si, Piango, Sospiro, E Peno: Arioso: Piango, Sospiro E Peno, Piango, Sospiro, E Peno: Aria: Ah' Crudele/Non Ti Basta, Piango, Sospiro, E Peno: Recitativo: Si, Si Che In Cener Disciolto Il Cor Vedrai, Piango, Sospiro, E Peno: Aria: Povero Core/Dopo La Morte, Piango, Sospiro, E Peno: Recitativo: Dunque Tormenti E Scherni, Piango, Sospiro, E Peno: Arioso: L' Amarti O Filli, Non So Qual Piu M' Ingombra: Allegro - Recitativo: Non So Qual Piu M'ingombra, Non So Qual Piu M' Ingombra: Moderato: Che Die Sara:, Non So Qual Piu M' Ingombra: Recitativo: E Nato, E Nato, Al Fin Mi Dice, Non So Qual Piu M' Ingombra: Aria Pastorale - Moderato: Nacque Col Gran Messia |
| # OF MEDIA: | 1 |
| UPC: | 756055132523 |
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Customer Reviews of Scarlatti Cantatas, Volume III / McGegan, Brian Asawa
Best of the Three . . . If you must have one CD of Alessandro Scarlatti's cantatas, here is the one to get. Cantatas I and II are collecting dust in my CD tower, but I gave this disc a permanent slot in my jukebox. Nicholas McGegan and the Arcadian Academy are competent as usual, but what makes Cantatas III shine is countertenor Brian Asawa's marvelously pellucid voice and his skillful interpreation. If McGegan plans to record a complete cycle of Alessandro Scarlatti's cantatas, he should look again to Brian Asawa, who is a master of early-music. Anecdotal addenda: I played Cantatas III at work, and fellow cubicle-dwellers who are not fans of classical or early-music went out and bought this CD. A co-worker plays Cantatas III during her rush hour commute. Asawa's soothing voice calms her nerves. That's quite a feat in Washington, DC traffic!
Continuo Anyone? Anyone?
In the 17th century, Alessandro Scarlatti enjoyed great fame as a composer of opera and chamber cantatas popular in the salons of nobility. The cantata was considered higher art with an emphasis on the poetry that preceded the music. Much of Scarlatti's works are marked by unusual uses of form and harmony, which all served to better illustrate the text. This recording, his third volume of cantatas, is morose in spirit. Beginning with "Nel silenzio comune", the texts portray a young man suffering rejection, nursing the wounds of love. Characterized by a weeping motif "Ferma Omai" prompts harmonies that darken in the accompaniment. In "Clori Vezzosa" and "Piango Sospiri e Peno" chromaticisms are incorporated as a reflection of despair and loathing. The "Non so qual piu m'ingombra" deviates from typical chamber cantatas in that it's subject is not love, but the rapture of the birth of Christ. Recorded by the Arcadian Academy, conducted by Nicholas McGegan, this is an exquisite performance of these often-overlooked chamber works for voice and continuo. At the forefront of a new wave of countertenors, Brian Asawa has a purity of tone, resembling a transparent veil, through which he conveys the text and the meaning of the music with brilliance.
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