Disc: 1

1 	I Cherusci, Act I: Sinfonia 	00:06:10
2 	I Cherusci, Act I: Udite - Vinta cadrà Cheruscia 	00:04:38 
3 	I Cherusci, Act I: Che intesi! 	00:01:08 
4 	I Cherusci, Act I: Fra noi ritorni il giubilo - Al 	00:07:45 
5 	I Cherusci, Act I: Sostegni illustri dello stato 	00:00:38
6 	I Cherusci, Act I: Il Ministro de' Numi s'avanza 	00:00:46 
7 	I Cherusci, Act I: Che ci reca Zarasto? 	00:02:02 
8 	I Cherusci, Act I: Eccomi a voi 	00:05:06 
9 	I Cherusci, Act I: Che si chiede da me? - I Cherus 	00:03:13 
10 	I Cherusci, Act I: La pietade col nemico 	00:03:36 
11 	I Cherusci, Act I: Ecco, ofidi il soggiorno 	00:02:04 
12 	I Cherusci, Act I: Paventi quel tiranno 	00:04:52 
13 	I Cherusci, Act I: E Rendo ancor non torna? - A pa 	00:02:47 
14 	I Cherusci, Act I: Tu sospiri? 	00:01:52
15 	I Cherusci, Act I: Mia non è! 	00:06:23
16 	I Cherusci, Act I: Carilo? 	00:01:31
17 	I Cherusci, Act I: Se pietosi o giusti Numi 	00:04:49
18 	I Cherusci, Act I: Fida Ercilda - Eccola 	00:01:29 
19 	I Cherusci, Act I: Trema, Tamaro 	00:01:09 
20 	I Cherusci, Act I: Taci... 	00:07:20 
21 	I Cherusci, Act I: Dunque non v'è più speme - Figl 	00:02:21 

Disc: 2

1 	I Cherusci, Act I: De' sommi Numi al soglio - Che 	00:14:52 
2 	I Cherusci, Act II: Nume della vendetta 	00:04:28
3 	I Cherusci, Act II: Ho risoluto 	00:03:43 
4 	I Cherusci, Act II: Tronchiamo 	00:01:50 
5 	I Cherusci, Act II: Vanne pur 	00:08:39
6 	I Cherusci, Act II: Dunque s'ardisce ancora 	00:00:55 
7 	I Cherusci, Act II: Ecco l'ombrifero 	00:01:48 
8 	I Cherusci, Act II: Ove son! 	00:02:44 
9 	I Cherusci, Act II: Ombra dolente e pallida 	00:05:38 
10 	I Cherusci, Act II: Giovine sconsigliato! - Ah Car 	00:01:49 
11 	I Cherusci, Act II: Fosca nube in ciel minaccia 	00:04:10 
12 	I Cherusci, Act II: Ah sì tutto è perduto 	00:02:48 
13 	I Cherusci, Act II: Io non ho pace! 	00:01:17 
14 	I Cherusci, Act II: Qual suono 	00:08:59
15 	I Cherusci, Act II: Misera dove fuggo! - Ferma, Si 	00:04:03 
16 	I Cherusci, Act II: Che ascoltai! 	00:00:34 
17 	I Cherusci, Act II: Ah qual gioja... 	00:06:36 
18 	I Cherusci, Act II: Padre Mio! 	00:01:59
19 	I Cherusci, Act II: Eccoli... - Ah padre! 	00:01:01 
20 	I Cherusci, Act II: Ah di quel giubbilo 	00:03:32

Yvonne Prentki (Tusnelda) - soprano 
Andrea Lauren Brown (Tamaro) - soprano 
Katharina Konradi (Ercilda) - soprano 
Markus Schäfer (Treuta) - tenor
Uwe Gottswinter (Carilo) - tenor
Andreas Mattersberger (Zarasto) - bass
Harald Thum (Dunclamo) - tenor
Markus Zeltler (Un Araldo) - tenor

Bavarian State Opera Chorus
Simon Mayr Chorus
Concerto de Bassus 
Franz Hauk - conductor

Composed when Napoleon’s armies were striding across Europe, Simon Mayr’s highly charged opera I Cherusci is set in ancient Germania in the time of Christ’s birth, its narrative focusing on the perils of the captured slave girl Tusnelda who has been chosen for a sacrificial ritual. The universal themes of Freedom and patriotism in this pioneering tale of familial bonds, romance, jealousy and desperate misadventure would later attract the likes of Beethoven and Verdi. This world premiere recording of I Cherusci uses period instruments, presenting it as it would have been heard in 1808. The Simon Mayr Chorus was founded in 2003. The repertoire of the choir includes works from the 16th to the 20th century. A special emphasis is laid on authentic historical performance and on the promotion of music by Simon Mayr at the highest cultural level. Concerto de Bassus is an international ensemble engaging young musicians in historical performances of music from the 17th, 18th, and 19th centuries. Many members of the ensemble are outstanding students or graduates of the Hochschule fur Musik und Theater, with wind instruments constructed on historical principles. The ensemble takes its name from the fundamental element of Baroque music: the Bassus. ---naxosdirect.com

When Mayr’s I Cherusci was premiered at the Teatro Argentina in Rome during the carnival 1808, Napoleon’s armies were gushing forth mercilessly through Europe and the libretto of the opera with its setting of merciless warfare between ancient Germanic tribes around the time of the birth of Christ was certainly hot stuff. The situation is as follows: A confederacy led by Treuta, King of the Marcomanni, has defeated the Cherusci after a lengthy series of battles, but the King’s only daughter has been caught by the enemy. He is very sad. A Cheruscan slave girl, Tusnelda, who has been captured by the Marcomanni, is to be sacrificed to the god of war, Mars. Treuta doesn’t want any more bloodshed, he only wishes peace and freedom and wants so save the girl. Tamaro arrives from the Cherusci camp and asks Treuta to release Tusnelda, who is his beloved. Treuta has in the meantime become fond of the slave girl and hidden her in order to help her flee. Then an emissary from the Cherusci camp with a necklace which proves that Tusnelda is the daughter of Treuta. But the high priest Zarasto is just preparing to carry through the sacrifice of Tusnelda … The finale becomes a thriller!

It is interesting to realise that another humanist and freedom fighter had been working on an opera with the same motto at about the same time – and continued to do so for another half decade: Ludwig van Beethoven. The first version of what is generally known as Leonore, was first seen at the Theater an der Wien in November 1805, but was reworked and foreshortened and finally produced in 1814 as Fidelio in the shape we know it today. Napoleon may not have bothered much about these two operas – if he knew about them at all – but it was still an act of bravery from Beethoven and Mayr to stick out their necks at the time in question.

The opening sinfonia is surprisingly lively and entertaining, considering the serious drama that is to follow. Here the music almost bubbles over with high spirits, and as usual Mayr spices his brew with good helpings of wind solos. When the curtain opens there are fanfares and the chorus enters and now there is martial atmosphere. Zarasto, the high priest, makes his entrance, accompanied by organ, and we hear an impressive basso cantante, Andreas Mattersberger. His aria La pietade col nemico (CD 1 tr. 10), halfway through the first act is warmly sung with healthy tone. He sounds almost too noble for such an evil character. Having attended master classes with Robert Holl and Elisabeth Schwarzkopf and since 2005 being trained by Brigitte Fassbaender his future seems well catered for. The lyric coloratura soprano Yvonne Prentki as Tusnelda is another new acquaintance who impresses in her cavatina Eccomi a voi (CD 1 tr. 8) with brilliant height, and later on in ensembles and duets, not least in the duet Vanne pur (CD 2 tr. 5) with Trauta, with woodwind accompaniment. Katharina Konradi is also a new name in Franz Hauk’s stable, and she is excellent in Ercilda’s aria Se pietosi o giusti Nume (CD 1 tr. 17), which in effect is a duet with the French horn – one of the finest numbers in this work. Tenor Uwe Gottswinter, who attended master classes with Brigitte Fassbaender and Christoph Prégardien, is an expressive singer but maybe too weak for the martial aria Fosca nube in ciel minaccia (CD 2 tr. 11) with timpani and wind.

Well-known regulars in this Mayr series are tenor Markus Schäfer and soprano Andrea Lauren Brown as Treuta and Tamaro respectively. They are heard together in the duet Mia non è! (CD 1 tr. 15), also one of the highlights. Schäfer makes his first entrance in a long aria with chorus, Fra noi ritorni il giubilo – Sortita: Al valor (CD 1 tr. 5) where he handles the abundant florid singing with elegance. Andrea Lauren Brown on the other hand has two great solos: Ecco, o fidi il soggiotno … Paventi quell tiranno (CD 1 tr. 11-12) in the first act, and Ove son! ... Ombra dolente e pallida (CD 2 tr. 8-9) in the second, the latter aria with harp and woodwind. That instrumental combination is again heard in the very last scene (CD 2 tr. 20). Mayr’s orchestration is as always inventive.

Readers who have so far avoided Mayr’s operas should perhaps start with Saffo, which my colleague David Chandler made a Recording of the Month, but collectors of this series can invest with confidence in this latest issue. ---Göran Forsling, musicweb-international.com

download (mp3 @320 kbs):

yandex mediafire ulozto bayfiles

back

Disc 1
1 	Act 1. Overture	8:45 	
2 	Act 1. Introduzione. Perchè temi?...Dolci amiche	9:31 	
3 	Act 1. Introduzione. Cede Acasto, o Creusa	2:30 	
4 	Act 1. Aria. Fosti grande allor che apristi	1:28 	
5 	Act 1. Aria. Di gloria all'invito	2:06 	
6 	Act 1. Aria. Ah! se amante, se guerriero	1:33 	
7 	Act 1. Aria. Ogni periglio alfine	4:06 	
8 	Act 1. Aria. Come!...sen riede	3:26 	
9 	Act 1. Aria. Sommi Dei	6:42 	
10 	Act 1. Aria. Sventurata Medea...Fermati!	6:20 	
11 	Act 1. Duet. Cedi al destin, Medea	10:06 	
12 	Act 1. Aria. Alfine io ti riveggo	3:05 	
13 	Act 1. Aria. Io ti lasciai, piangendo	4:08 	
14 	Act 1. Aria. M'inganno...o ciel	1:46 	

Disc 2
1 	Act 1. Finale Primo. Dolce figliuol d'Urania	3:22 	
2 	Act 1. Finale Primo. Cara figlia! prence amato!	7:45 	
3 	Act 1. Finale Primo. Scendi Imene... Vanne a terra...	5:31 	
4 	Act 2. Aria. Amiche, cingete	3:23 	
5 	Act 2. Aria. Caro albergo	7:40 	
6 	Act 2. Aria. Dio d'amor, che il sen m'accendi	3:11 	
7 	Act 2. Aria. Eccoti, o figlia, a' lari tuoi	2:27 	
8 	Act 2. Aria. Dove mi guidi?	4:46 	
9 	Act 2. Aria. Ogni piacer è spento...Antica notte	7:15 	
10 	Act 2. Duet. Amico, a te soltanto	3:10 	
11 	Act 2. Duet. Sembra che alfine secondi	2:38 	
12 	Act 2. Duet. Non palpitar, mia vita	4:51 	
13 	Act 2. Duet. Ah! sì caro accento	2:56 	
14 	Act 2. Aria. Avverse, inique stelle	2:38 	
15 	Act 2. Aria. I dolci contenti	4:23 	
16 	Act 2. Duet. Ma qual fioco rumor?	2:48 	
17 	Act 2. Duet. Se il sangue, la vita	5:03 	

Disc 3
1 	Act 3. Aria. Grazie, nume d'amore!	2:34 	
2 	Act 3. Aria. Amor, per te penai	5:33 	
3 	Act 3. Aria. Ebbene, Evandro?	0:55 	
4 	Act 3. Aria. Ismene... o caro Ismene!	3:56 	
5 	Act 3. Aria. Ah! che tento?		2:30 	
6 	Act 3. Aria. Miseri pargoletti	5:34 	
7 	Act 3. Aria. Quale orror mi circonda!	0:37 	
8 	Act 3. Finale Secondo. Era tua sposa	6:21 	
9 	Appendix. Aria. Di gloria all'invitto	7:16 	
10 	Appendix. Cabaletta. Ma forse eccedono	3:29 	
11 	Appendix. Duet. Ah! d'un alma generosa... Dove un soave	8:42 	
12 	Appendix. Aria. Ismene... o cara Ismene	3:03 	
13 	Appendix. Aria. Ah, che tento?	2:26 	
14 	Appendix. Aria. Miseri pargoletti	5:29 	

Jane Eaglen (Soprano) - Medea
Yvonne Kenny (Soprano) - Creusa
Bruce Ford (Tenor) - Giasone
Raúl Giménez (Tenor) - Egeo
Alastair Miles (Bass) - Creonte
Neill Archer (Tenor) - Evandro
Anne Mason (Soprano) - Ismene
Paul Nilon (Tenor) - Tideo

Geoffrey Mitchell Choir 
Philharmonia Orchestra
David Parry - conductor

Giovanni Simon Mayr was a notable figure in his time. Born in Bavaria, he created an Italian equivalent of his original name (Johann Simon) when as a young man he settled at Bergamo. His operas made their mark and in the first quarter of the nineteenth century he was regarded as Rossini’s rival, his works performed across Europe. His influence extended in other directions besides, since he became the teacher of Gaetano Donizetti.

Medea in Corinto has a libretto by the great Felice Romani, and is constructed on an indulgent time-scale of more than two and half hours (plus intervals). Moreover there is more music than we hear in this performance, as reflected in the recording for Opera Rara with the excellent Jane Eaglen in the title role, and the Philharmonia Orchestra conducted by David Parry. ---musicweb-international.com

As Henry II’s mistress in these highlights from Donizetti’s Plantagenet fantasy, Renée Fleming gives an object lesson in bel canto singing, dazzling in the coloratura pyrotechnics and shaping the cavatinas with exquisite grace and tenderness. Her lover, Bruce Ford, is hardly less fine, and there are notable brief contributions from Alastair Miles and from Nelly Miricioiu as the vengeful Queen Eleanor. The music has its routine patches, but is always dramatically effective, sometimes, as in the increasingly desperate duet between Henry and Rosamond, rather more than that. Vivid playing from the Philharmonia under David Parry. Ford and Miles are also welcome presences in Mayr’s Medea in Corinto, where Jane Eaglen makes a mightily imposing – if slightly too regal – heroine. The high point of the score is Medea’s baleful Invocation Scene; elsewhere, though, Mayr’s invention – somewhere between Mozart and Rossini, without the genius of either – can be almost comically tame for the harrowing subject matter. Again, David Parry directs a polished, keenly paced performance. ---classical-music.com

The Bavarian-born Johann Simon Mayr (1763–1845) trained and made his career in Italy and thus ended up calling himself Giovanni Simone Mayr, or simply G. S. Mayr. He is best known for having been composition teacher to Giuseppe Donizetti. Medea in Corinto (Medea in Corinth, 1813 and much revised over the course of the next ten years) was Mayr’s best-known opera and remained a repertory staple for a time even after his death. It has been revived frequently in our own day, especially in Italy, where audiences can of course follow the plot and shifting emotions without recourse to supertitles.

Mayr’s opera tells basically the same story that opera lovers know from Cherubini’s Médée (a work often performed in a much-altered later version and in Italian, under the title Medea). But the treatment of the Medea legend by Mayr and his librettist, the immensely gifted Felice Romani, is different enough from Cherubini’s that the work has its own identity and appeal. In this opera, the princess of Corinth (here called Creusa) was promised to King Aegeus (Egeo) of Athens, before she shifted her affections to the heroic Giasone. Egeo has a big and dramatically varied role. Medea is given a powerful scene with the spirits of hell (reminiscent of a scene in Cavalli’s Giasone, composed a century and a half earlier).

Romani and Mayr give the chorus multiple occasions to rejoice, reassure, worry, and be solemn or horrified. (In this new recording they sound fine, mostly, except for some reason in the scene with Creusa at the beginning of Act 2.) The orchestra frequently offers colorful interjections: we get several arias in which a solo instrument (e.g., violin, English horn, even harp) performs in duet texture with the voice or in alternation with it.

As in many of Rossini’s serious operas, recitatives are accompanied by orchestra rather than keyboard. The Medea/Giasone duet in Act 1 is a large four-movement structure of a type that scholars and critics normally call “Rossinian” and would become normative for Rossini’s successors: Donizetti, Bellini, and the young Verdi. Vocal lines are quite florid (not least for Egeo) but often also tuneful or even dance-like, sometimes reminding me of Donizetti (to come) or of phrases from Mozart’s Così fan tutte and The Magic Flute (some twenty years earlier). ---Ralph P. Locke, operatoday.com

download (mp3 @320 kbs):

yandex mediafire ulozto

back