1. Johann Simon Mayr - Sol Di Morte Nero Velo
  2. Gioacchino Rossini - Se Per Te Lieta Ritorno
  3. Joseph Weigl - Dille Che in Lei Rispetto
  4. Ferdinando Paer - Io Morro
  5. Giuseppe Mosca - Mentre Guardo, Oh Diot Me Stessa
  6. Gioacchino Rossini - Per Lui Che Adoro
  7. Gioacchino Rossini - Pensa Alla Patria, E Intrepido
  8. Carlo Coccia - Tu Mi Stringi
  9. Gioacchino Rossini - T'abbraccio, Ti Stringo

Ann Hallenberg - soprano
Stavanger Symphony Orchestra and Chamber Choir
Fabio Biondi - conductor

Marietta Marcolini was an Italian contralto born in Florence in 1780. Rossini's career would not have taken flight in so meteoric a fashion without a series of providential encounters, and that with Marietta Marcolini was to leave an indelible stamp on his entire output. By creating roles to measure for her, as in 'La pietra del paragone' and 'L Italiana in Algeri', and exploiting this interpreter s uncommon resources more fully than had other composers before him, Rossini ushered in the fashion for a new type of comedy, the brilliant, virtuoso comedy of which he was to remain the master until 'Le Comte Ory' (1828). Unlike the numerous recorded recitals devoted exclusively to Rossini, this one presents the young Rossini in the context of the Italian musical theatre of the second decade of the 19th century. Included are extremely well-known arias like the spectacular rondo from 'L Italiana' and that of 'L equivoco stravagante', the original version of Clarice s rondo in 'La pietra del paragone'. It also reveals also the richness and variety of the pre-Rossinian composers are forgotten today. The Swedish mezzo-soprano Ann Hallenberg has become established as one of Europe s leading mezzosopranos. Her operatic repertoire includes a large number of roles by Rossini, Mozart, Gluck, Massenet, Handel, Vivaldi and Monteverdi. Equally at home on the concert platform, she frequently appears in concert halls and festivals throughout Europe and North America. With this recording, NAIVE launches a new series of CDs called NAIVE DISCOVERIES, which will assemble our enthusiasm for rare repertoires, atypical projects, releases distinct from signings of exclusive artists or production contracts spread over several years. ---amazon.com

The lives of the singers who appeared on opera stages in the early 19th century are gradually coming to light. One of them, Marietta Marcolini, is described here as Gioachino Rossini's first muse, but other researchers have described such figures as creative contributors to the opera of the period, which had a substantial improvisational component. That comes through on this release, which gives Swedish mezzo soprano Ann Hallenberg plenty of room to stretch out into ornate decoration. The program includes a few familiar Rossini arias, but Marcolini was famous before she ever met the young Rossini, and the primary innovation here is the collection of arias from the almost totally neglected period of Italian opera between Mozart's death and Rossini's rise to prominence. The arias by Johann Simon Mayr, Giuseppe Mosca, Carlo Coccia, and others are mostly big pieces, drawn from among section finales and the like, and they show the development of style in Rossini and even more so in his successors as a process of simplification; they are multisectional pieces with plenty of fire. Both she and conductor Fabio Biondi have backgrounds in the historical performance of Baroque vocal music, but they don't try to apply techniques from their performances of music from that period here. Biondi in particular avoids the explosive style of his Baroque performances in favor of smooth, self-effacing readings that put the emphasis squarely on the singer. And Hallenberg steps up: her voice is not massive, but the agility is right for this music, and her vision of how the two arias from Rossini's L'italiana in Algeri would have sounded in their own time is lively and charismatic. They get excellent support from Naïve's engineers, working in Frank Gehry's Stavanger Concert Hall in Norway; it doesn't look as though it would make a good stand-in for a medium-sized Italian opera house of the early 19th century, but it does. ---James Manheim, Rovi

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CD 1
Geminiano Giacomelli: Gianguir
1 	Mi Par Sentir La Bella 	9:43

Giuseppe Maria Orlandini: Adelaide
2 	Non Sempre Invendicata 	5:38
3 	O, Del Mio Caro Sposo... Quanto Bello Agl'occhi Miei 	15:22
4 	Scherza In Mar La Navicella 	5:44
5 	Vedrò Più Liete E Belle 	8:40

Geminiano Giacomelli: Gianguir
6 	Vanne, Si, Di Al Mio Diletto 	7:11

CD 2
Tomaso Albinoni: Filandro
1 	Il Tuo Core In Dono Accetto 	4:07
2 	Fior Ch'a Spuntar Si Vede 	3:31

Nicola Porpora: Semiramide Riconosciuta
3 	Il Pastor, Se Torna Aprile 	6:28
4 	In Braccio A Mille Furie 	3:04
5 	Bel Piacer Saria D'Un Core 	8:35

Leonardo Leo: Catone In Utica
6 	Soffre Talor Del Vento 	6:48
7 	Ombra Cara, Ombra Adorata 	9:22

Leonardo Vinci: L'Abbandono Di Armida
8 	Nave Altera Che In Mezzo All'Onde 	4:17

Ann Hallenberg - mezzo-soprano
Il Pomo d'Oro - orchestra
Stefano Montanari - conductor

Where to begin listing the virtues of this gorgeous double-CD release by mezzo-soprano Ann Hallenberg? Perhaps with the unique programming concept, re-creating the operas staged during Carnival season in the year 1729 in Venice, a special year because all the big stars of Italian opera had come back home after disagreements with their impresario, Handel, in England. The arias, written for the likes of the castrato Senesino and the soprano Faustina Bordoni, have all the technical fireworks of the Handel operas of the 1720s that have gained popularity. And consider that the music is virtually unknown, with much of it here receiving its premiere on recordings; much of the research was done by Hallenberg herself, along with her husband, with performers once again leaving musicology in the dust. Is it second-order opera? Hardly, and here you can rely on the opinion of Handel himself, who dropped in to hear this remarkable stretch of music and took some of it back to London to make pastiches out of it. You can stop in anywhere for vocal heroics, but sample one of the more melodic pieces, such as "Bel piacer saria d'un core", from Semiramide riconosciuta of Nicola Porpora, Haydn's teacher. The program is intelligently put together, with most of the pieces grouped together by individual opera, but two altogether fascinating selections from Gianguir, by the all-but-unknown Geminiano Giacomelli framing the arias from Giuseppe Maria Orlandini's Adelaide on CD 1. The sharp, sensitive orchestral work of Il Pomo d'Oro under Stefano Montanari is a major attraction. And last, but certainly not least, is the voice of Hallenberg herself, arguably at its absolute peak, easily tackling arias across a wide range, delivering plenty of power in the big runs and yet entering into each character. Oh, yes, Pentatone's audiophile-quality sound, recorded at the entirely appropriate Villa San Fermo in Lonigo, is superb. Sit back and enjoy, says Pentatone's little logo. Indeed: this is one of those rare recordings that breaks entirely new ground yet remains a pure pleasure, fully realized on its own terms. ---James Manheim, AllMusic Review

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1.Anonymus (Carlo Broschi Farinelli?) - Son qual nave che agitata
2.Gaetano Latilla - Vuoi per sempre abbandonarmi?
3.Nicola Conforto - Ogni dì più molesto (Recitativo)
4.Nicola Conforto - Non sperar, non lusingarti
5.Geminiano Giacomelli  Quell'usignolo
6.Giovanni Battista Mele - Io sperai del porto in seno
7.Anonymus (Geminiano Giacomelli?) - Invan ti chiamo, invan ti cerco, amato (Recitativo)
8.Anonymus (Geminiano Giacomelli?) - Al dolor che vo" sfogando 

Ann Hallenberg - Mezzo-soprano
Stile Galante
Stefano Aresi - Conductor

In 1753, Farinelli sent a precious manuscript from Madrid to the Empress Maria Theresa in Vienna – it contained some of the arias he usually sung during private evening concerts for the King of Spain. Among them were the celebrated Son qual nave and Quell’usignolo, for which he wrote by hand his own original da capos and cadenzas. This incredible source, offering a very unique and peculiar insight into the artistry of the famous castrato, is recorded here integrally, after a painstaking scholarly work on all the performance-related topics. The star mezzo-soprano Ann Hallenberg delivers the breathtaking original embellishments created by Farinelli with astonishing ease, making this survey through pieces written by Giacomelli, Conforto or Farinelli himself a truly delightful experience. Stile Galante and conductor/musicologist Stefano Aresi bring their usual savoir-faire and elegance to this carefully crafted project. ---naxosdirect.com

Mezzo-soprano Ann Hallenberg continues a run of outstanding form on disc with this recital, recorded live in Bergen in 2011. Carlo Broschi – nicknamed Farinelli, after the Farina family who first funded him – was the most celebrated castrato of the 18th century, and the arias Hallenberg has chosen are tailor-made showcases for his voice: usually either fast and furious or slow and languid with lots of room for embellishment. A riproaring Son Qual Nave, by Farinelli’s composer brother Riccardo Broschi, is immediately followed by a low-lying aria by Giacomelli, which Hallenberg spins into gorgeously long, mellow lines; Cervo in Bosco from Catone’s Arbace seems designed to show there’s nothing she can’t do. There’s no audience noise, and little indication we’re live other than that, by the encores, the brass tuning has slid a bit. Those encores include two imposters – Handel crowd-pleasers that Farinelli probably never sang – but nobody’s complaining. ---theguardian.com

W 1753 roku wielki śpiewak barokowy Farinelli wysłał z Madrytu do cesarzowej Marii Teresy do Wiednia manuskrypt, który zawierał kompozycje wykonywane przez niego na prywatnych koncertach na hiszpańskim dworze królewskim. W niniejszym nagraniu mezzosopranistka Ann Hallenberg wykonuje utwory z tego źródła, co daje nam możliwość pełniejszej wiedzy na temat barokowej muzyki wokalnej. Solistyce towarzyszy zespół Stile Galante pod dyrekcją Stefano Aresi. ---empik.com

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