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Fanfare Magazine: 43:2 (11-12/2019) 
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Erato 9029551819



Code-barres / Barcode : 190295518172

It’s a clever marketing ploy indeed to headline this brand new CD with Ombra mai fu. One could be forgiven for expecting Handel’s version of Xerse; however, this album from countertenor Philippe Jaroussky explores the music of Italian composer Francesco Cavalli, who composed some 33 operatic scores between 1639 and 1673, of which only 27 survive according to the hugely informative notes, “providing the richest single collection of 17th century Venetian opera.” Born in 1602, Cavalli became part of Venice’s fertile musical life. In 1616, he first sang at St. Mark’s and by the beginning of 1639 he had risen to the rank of second organist, the same year as his first opera was staged. He eventually became maestro di cappella in 1668, a post held previously by his mentor, Monteverdi. One of Cavalli’s last works, Eliogabalo, was written in tribute to the senior composer.

Jaroussky himself was born in France in 1978, and studied violin and piano before he took up singing in the 1990s after hearing the countertenor Fabrice di Falco. Like Cecilia Bartoli and others, he has taken up the idea of single-composer albums and has released CDs of Vivaldi, Porpora, and Handel, some with the same group, Atraserse, which he founded in 2002. His band of 13 (on this disc) is sharp and bold and accompanies to perfection. Try the call to arms from Statira. This is an excellent example of how good this group is, although perhaps Jaroussky himself is not quite at his best here, sounding a bit stretched at the climactic end. He himself is at his best, however, in the opening “Ombra mai fu” from Xerse. This is lilting and beautifully shaped by Jaroussky and easily sung. The slower “Uscitemi dal cor” from Erismena, as he talks about the “bitter tears pouring forth,” certainly does bring out the best in the countertenor in this tender, intimate, yet flowing music. In the two arias from Calisto the first guest artist, the contralto Marie-Nicole Lemieux, appears. She tells the young satyr, “I would like to say yes, but a firm voice says no.” In the second aria, “Ninfa bella,” she tells him to “go and live with your goaty lovers.” Both singers are clearly enjoying the characterization and act well off of each other. The second guest appears on two tracks. Hungarian soprano Emőke Baráth joins in the duet from Elena, “Mio diletto,” which is absolutely ravishing. “I live and breathe in you” they sing, as they their voices intertwine. Both singers communicate the emotion beautifully here and sing with restrained passion. This track is a highlight of this CD. “Misero Apollo” from Gli amori d’Apollo e Dafne is sung with tenderness, while the music itself is extremely attractive and winning. Eritrea brings another languid duet, beautifully sung by both artists. The second track from Calisto, a haunting lament, “Lucidissima face,” is a triumph for the soloist. “La bellezza è un don fugace,” the second aria from Xerse, shows off Jaroussky’s technical ability in this faster number.

This survey of Cavalli’s music is recommended for all fans of early Italian opera, with Jaroussky and his ensemble bringing out the many faces of the music. The sound is clear and sharp. The book and notes are excellent, and text and translations are gratefully received. This is a model of how classical CDs should be presented.

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