Carlo Ipata: Flauto details

Ecco a darvi diletto
Amor, ch' è sì stimato,
Or schernito, oltraggiato
Co' le disgrazie sue porge il soggetto
A i vaghi scherzi miei.
De' favolosi Dei
Altre volte lo scherno anche s'udì.

So, for your enjoyment,
Love, who is so esteemed,
now ridiculed, insulted,
with his mishaps will provide the theme
for my delightful jests.
Even the fabled Gods
were ridiculed in olden times.

Maria Grazia Schiavo: Soprano, Furio Zanasi: Baritono, Anicio Zorzi Giustiniani: Tenore, Cristiana Arcari: Soprano, Paolo Lopez: Soprano, Antonio Abete: Basso, Enea Sorini: Basso, Luigi De Donato: Basso, Gabriella Martellacci: Alto, Carlos Natale: Tenore, Francesco Ghelardini: Controtenore, Martin Oro: Controtenore, Elena Cecchi Fedi : Soprano

Recensioni

International Record Review

'There's a freshness of invention in these early operas which is still immediately attractive today ... Musically there's much to appeal ... This is a performance which invites sustained listening. Partly it's the sheer variety of voices and moods which helps conjure up the action in the theatre of the mind, partly it's to do with Cesti's powerful recitative and arioso, but in large measure it is to do with the variety of pacing, careful characterisation and engaging singing from the cast under the direction of Carlo Ipata'

The Daily Telegraph

'A comedy of amorous intrigue, satirising the venal appetites of the gods in music that is graceful and shapely'

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Or sì m'avveggio, oh Amore
Credimi pur che t'amo
Già la notte s'avvicina 'La pesca'
Or che d'orrido Verno

Elena Cecchi Fedi: Soprano, Carlo Ipata: Flute and Conductor, Luca Ronconi, Heilke Wulff: Violin, Maurizio Borzone: Viola, Alessandro Palmeri: Cello, Riccardo Coelati: Double bass, Francesco Romano: Theorbo, Daniele Boccaccio: Harpsichord

Critics

OPERA NEWS - December 2008

'As for Fedi, aren't we fortunate today to have a whole stable of singers like her, technically assured, virtuoso and musically inventive, as required by this music? She is one of the most fluid and interesting interpreters of eighteenth-century song I have encountered in years, and her discography is growing rapidly'

MUSICA - Dicembre 2008

'La prova del Soprano Elena Cecchi Fedi insieme all'Ensemble Auser Musici, rende perfettamente giustizia a pagine di grande eleganza formale, niente affatto facili, pero' ad eseguirsi..'

INTERNATIONAL RECORD REVIEW

'This outstanding disc not only displays unequivocal proof of Porpora's exceptional skill … but also provides some of the most genuinely enjoyable and captivating performances of eighteenth-century vocal music I have heard on disc for a very long time … These are brilliantly written recitatives, clearly, but with Fedi's clarity of diction and conviction of delivery, they are transformed into something truly exceptional. Yet to single out the recitatives, when the instrumental colouring of the arias and sinfonias is so magical, is to do a major disservice both to Porpora and to Auser Musici … Here is music-making of such infectious happiness that this disc is destined to be a constant companion for the foreseeable future'

THE IRISH TIMES

'Soprano Elena Cecchi Fedi's singing is both beautiful and vocally deft, and the playing of the Italian group Auser Musici is emotionally responsive and dramatically alert to match. The opening cantata, Or si m'aveggio, oh Amore, with its rocketing cello obligato, is particularly fine'

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Violin Concerto [No 2] in D minor
Violin Concerto [No 3] in A major
Quartetto (Sinfonia) in G major
Violin Concerto [No 1] in C major
Quintet for flute and strings in D major 'Las Parejas', G430 Op 19 No 6

Francesco D'Orazio: Violin, Raul Orellana*, Milena Miatovich, Heilke Wulff, Annamaria Bianconi, Maurizio Lillo, Daniela Godio*, Luisa Di Menna: Violin, Pasquale Lepore* : Viola, Marco Ceccato* : Cello, Alessandro Bevilacqua: Double Bass, Daniele Boccaccio: Harpsichord, Francesco Romano: Theorbo Gianfranco Dini, Loreta Ferri: Horn, Simone Bensi, Martino Noferi: Oboe, Claudio Vehr: Bassoon
*performers in the Quartetto (Sinfonia) in G major

Critics

Musica - December 2008

'Il solista ben si destreggia nei passi piu' complessi della partitura, dove eccelle per intonazione..'

Guardian.co.uk - 2008

'The easy charm of his three violin concertos disguises the fierce demands they make upon the soloist, but Francesco D'Orazio tackles them with fluent ease, nimbly accompanied by Auser Musici, an ensemble dedicated to the preservation of neglected Tuscan treasures. '

CLASSICAL NET - 2008

'D'Orazio's brilliant playing is only matched by his sensitive conducting, and in his hands, these rare pieces sound even more radiant than some more renowned contemporary compositions. Auser Musici lend sympathetic support throughout. Sound and notes are in the best Hyperion tradition.'

INTERNATIONAL RECORD REVIEW - June 2008

'The enchantingly radiant quality of D'Orazio's playing and Lidarti's music … D'Orazio possesses just the right kind of lithe, flexible and elegant and pure sound theis music cries out for, and he directs Auser Musici (familiar from an enchanting disc of Boccherini Flute Quintets) with flair, imagination and in the slow movements a moving sensitivity to line, dynamic and harmonic pacing'

GOLDBERG

'Tunefulness, energy and general amiability … a true Classical period sensibility … The violin concertos are directed with verve and grace by the virtuoso soloist, Francesco D'Orazio … He is a lithe, elegant and characterful performer and his elaborate cadenzas are delightfully playful'

MusicalPointers.com

'Christian Joseph Lidarti (1730-95) is another new name to learn and not forget again. Re-discovered for these premiere recordings by a Pisan vocal and instrumental ensemble, this is another composer to scotch the "canon" which dominates concerts and recordings. Some 400 works of his can be found in the British Library and in a collection in Tuscany. These here are undated, but this eighteenth-century Italian composer bridges the baroque and classical periods. They are superbly realised by the consummate artistry and virtuosity of Francesco D’Orazio … An excellent first for Hyperion'

EARLY MUSIC NEWS

'The three violin concertos … would happily stand comparison with Haydn's works in the genre. Soloists Francesco D'Orazio gives fine accounts of Lidarti's technically demanding music and his cadenzas are nicely in the style of the period … All four works reveal a composer with a keen sense of dramatic melody … These are all world premiere recordings, and violinists looking for new repertoire should certainly hear it'

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Quintet for flute and strings in E flat major, G425 Op 19 No 1
Quintet for flute and strings in G minor, G426 Op 19 No 2
Quintet for flute and strings in C major, G427 Op 19 No 3
Quintet for flute and strings in D major, G428 Op 19 No 4
Quintet for flute and strings in B flat major, G429 Op 19 No 5
Quintet for flute and strings in D major 'Las Parejas', G430 Op 19 No 6

Carlo Ipata: Flauto Traverso, Luca Ronconii: Violino, Francesco La Bruna: Violino, Teresa Ceccato: Viola, Luigi Puxeddu: Violoncello

Critics

MUSICA – December 2008

'..Il suono si piega alle suggestioni indotte dal testo musicale, prestando voce alla sua ricchezza infinita di sfumature'

CLASSIC Voice – June 2008

'..illustrate con maliziosa e partecipe eleganza dal complesso toscano'

FANFARE (USA)

'I was pleasantly surprised with this disc. The music is typical Boccherini, charming and with a certain amount of energy…but the performances by Auser Musici flow beautifully. They have both inner energy and a smile'

LE MONDE DE LA MUSIQUE – May 2008

Très séduisant, excellemment interprété, ce CD devrait réunir, dans sa catégorie, tous les suffrages. [Marc Vignal]

EARLY MUSIC REVIEW – April 2008

These are enjoyable performances. Number 4 is particularly attractive, with its beautifully paced Adagio assai, lyrical flute and virtuoso cello playing

GRAMOPHONE – March 2008

These are delightful works played with a persuasively affectionate period-instrument style, with a felicitous lead from the nimble and gently expressive flautist, Carlo Ipata. Hyperion do the players proud in their debut recording; we shall surely hear more of them.

INTERNATIONAL RECORD REVIEW – March 2008

Listening to these six quintets, one is immediately captivated by a charm and inventoin that, while of a different nature, easily equals that of Haydn or Mozart … The playing is exceptional … Beautifully recorded in the Oratorio di S Domenico, Pisa, this is an auspicious debut for Auser Musici on Hyperion. Further recordings are planned - let's hope we don't have to wait too long for them

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I bei legami *
Qual dolor, qual martire
O soave dolore
Bella Licori - Dolce Drusilla - Piangerem sempre
Se ridete gioiose (Giulio Caccini)
La Pastorella mia spietata
Ohimé che troppo è vero (Vincenzo Calestani)
Quando il sol apparisce
Ninfe cantiam
Tu piangi al mio partire (Lorenzo Allegri)
Occhi belli, occhi celesti (Giovanni Bettini)
Non havea Febo ancora
Del bell' Arno in sù la riva *
Interrotto sospir
Amorosa pargoletta
Belle donne i vostri amanti

Carlo Ipata: Direttore, Elena Cecchi Fedi: Soprano, Lucia Sciannimanico: Contralto, Alessandro Carmignani: Contralto, Leonardo Andreotti: Tenore, Matteo Bellotto: Basso Martino Noferi: Flauto dolce, Carlo Ipata: Flauto dolce e traversa, Paolo Biordi: Viola da gamba soprano, Francesca Chiocci: Viola da gamba soprano e basso, Francesca Tomei: Viola da gamba basso e Violone in Sol, Marta Graziolino: Arpa tripla, Francesco Romano: Tiorba e Liuto, Daniele Boccaccio: Clavicembalo, Lisa Navacj: Clavicembalo, Nicola Pedrazzolo: Percussioni

Critics

AMADEUS – June 2005

The performance perfectly captures Brunelli’s mastery and exalts its changing emotional nuances. The instrumental support is another reciting voice which multiples the narrative character of the interpretation.

AUDIOreview nr. 258 – June 2005

Freshness is the most striking aspect in this performance with luminous timbres, especially felt in the rich presence of instruments.

ABEILLEMUSIQUE.COM – September 2005

Here is Renaissance Italy at a glance, played and sung with all the necessary emotion: it is perfectly convincing.

LE MONDE DE LA MUSIQUE – September 2005

Thanks to the AuserMusici ensemble for the talented musical achievement.

L’OPERA – September 2005

The protagonists of the CD enthusiastically embarked on the praiseworthy venture of giving back life to these pages by blowing in them an air of fizzy freshness. Ipata works with attention on colours, phrases and dosage of the musical instrument, without losing sight of the emotional environment of each piece. Remarkable is the first-rate performance by the soprano Elena Cecchi-Fedi.

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Mirena & Floro (Nana, francese e armena ovvero Mirena & Floro)
Intermezzo Primo
Intermezzo Secondo (Giovanni Bononcini, 1670-1747)
Intermezzo Terzo

Carlo Ipata: Direzione, Elena Cecchi Fedi: soprano, Lucia Sciannimanico: contralto, Marco Orestano Cristarella: baritono, Attilio Motzo, Annamaria Bianconi & Andreas Preuss: violini I, Francesco La Bruna, Corrado Lepore & Laura Mirri: violini II, Giorgio Oppo: viola, Alessandro Palmeri: violoncello, Massimo Tore: contrabbasso, Martino Noferi: oboe e flauto dolce, Calogero Sportato: tiorba e chitarra barocca, Daniele Boccaccio: clavicembalo

Critics

CLASSICA – March 2005

Carlo Ipata’s direction is acute and dynamic. A little delight, soft and smart.

L’OPERA – January 2005

The performance demonstrates technical ability, enthusiasm and expressive freshness.

AMADEUS – January 2005

The two protagonists embrace all the expressive nuances of the love fight and parody. There’s verve and spontaneity and an eloquent instrumental approach.

CLASSIC VOICE – January 2005

Funny and laughable listening.

KLASSIK – January 2005

To act, not just to sing! Recordings are excellent and moving.

LE MOND DE LA MUSIQUE – December 2004

AuserMusici demonstrate dynamism.

DIAPASON – December 2004

Remarkable Elena Cecchi Fedi’s voice… and the perfect elegance of the instrumentals.

IL GIORNALE DELLA MUSICA – November 2004

The performance of the three singers Elena Cecchi Fedi, Lucia Sciannimanico and Marco Orestano Cristarella is truly beautiful, convincing and involving. They can dive with effectiveness and fair theatrality in these two fascinating pages, while being supported with brio and liveliness by the instrumental group AuserMusici, directed with cleverness, good taste and absolute propriety by Carlo Ipata.

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Critics

CLASSIC Voice Nr. 61 - June 2004

AuserMusici know how to get to the point: strong and active first parts, good ensemble, bass continuo rich but not invasive.

BIBLIO-NET Le recensioni - March 2004

AuserMusici reveal the ascendency and illumination of Francesco Geminiani’s Concerto Grossi op.II. By means of Ausermusici’s impeccable interpretation, besides Geminiani’s, also Handel’s parallel transparency takes shape.

GOLDBERG n. 25 – Dicembre 2003

The Ensemble AuserMusici tackles these works with affection and poetry, deliberately revealing the whimsical nature of Geminiani’s composition.

CONCERTO Nr. 188 – November 2003

A wonderful ‘Italianateness’ is united to a sense of ensemble and musical temperament. The Concerto No. 5 in Bmin, for example, has never before been recorded with such intensity. Compared to earlier recordings, AuserMusici’s Geminiani is simply more sensual, rich with the desire to make music complete in its virtuosity and good taste. It reflects the Tuscan countryside, refined, full of light and elegance.

STEREOPLAY – October 2003

The ensemble AuserMusici of Pisa fill the slow movements with light and the colours of a noble ‘bel canto’, aware of the warmth and pulse of this music, they reach the heart of its beauty with understated splendour.

TOCCATA Alte Musik Aktuell – July/August 2003

Clarity is this group’s magic word. In Geminiani’s Concerti Grossi the exceptional qualities of the orchestra are even more clearly evidenced. It seems as if these works were only waiting for AuserMusici. And AuserMusici have been successful in surprising and delighting: a feast!

MUSICA – May 2003

The Tuscan musicians are both interesting and effective. Really wonderful the six Concerti Grossi.

COMPACT DISC CLASSICS Choice of the month – April 2003

The ensemble AuserMusici has by now acquired not only a notable intuition for interpretation but also a wonderful instrumental compactness which is at times gripping. Particular mention must be made of the first violin Attilio Motzo, careful and creative, and of the flautist, Carlo Ipata, the protagonist in the 4th Concerto in an Adagio enjoying impalpably magical nuances.

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Carlo Ipata: Direttore, Rossana Bertini, Elena Cecchi Fedi: Soprani, Fulvia Bertoli: Mezzo Soprano, Claudio Cavina: Contralto, Sandro Naglia, Carlo Messeri Tenori, Marcello Vargetto, Marco Scavazza: Baritoni, Carlo Ipata: Traversa, Luigi Cozzolino, Renata Sfriso: Violini, Paolo Biordi: Viola da gamba, Gianluca Lastraioli: Tiorba, Andrea Perugi: Organo.

Carlo Ipata: Direttore

Critics

CLASSIC Voice Nr. 61 - June 2004

Prosody, ability in the diminutions, rhetoric... profuse ingredients in generous quantities for a first rate sound document.

CONCERTO Das Magazin für Alte Musik – May 2000

The instrumental musicians play with sensitive and colourful sound; the soprano Rosanna Bestini and particularly the mezzo-soprano Fulvia Bertoli are engaging and show great stylistic confidence.

GOLDBERG MUSIC MAGAZINE – November 1999

AuserMusici’s performance is filled with enthusiasm and excitement.

AMADEUS –July 1999

All would seem to be down to the versatility of the player. Qualities not lacking in the AuserMusici ensemble who with their experience are capable of resolving with smooth virtuosity the not few difficulties presented by the composer Brunelli.

CD CLASSICA – March 1999

The group is composed of some of the most highly specialised Italian artists in the field of early vocal music. Together with the very successful solo voices there are equally valid performances of pieces for several voices thanks to their impeccable intonation, the beauty of the tone colours of the ensemble and Carlo Ipata’s lively direction.

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Concerto in sol maggiore per flauto traverso, violini obbligati e ripieni, violetta e basso
Overtura per corni, violini, violetta e basso
Overtura a 6 con violini, corni da caccia, viola e basso
Concerto in re maggiore per flauto traverso, violini obbligati e ripieni, violetta e basso

Carlo Ipata: flauto e direzione

Critics

TOCCATA Alte Musik Aktuell – January-February 2003

The performance is excellent. Carlo Ipata’s flute playing is as convincing as the artists who accompany him. Both the pieces and their performance seduce the listener and reveal another excellent orchestra.

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Sonate in IV in mi minore
Sonata III in sol maggiore
Sonata V in do maggiore
Sonata VI in la minore
Sonata I in re maggiore
Sonata II in si minore

Carlo Ipata: flauto traverso, Guido Balestracci: viola da gamba, Ugo Nastrucci: tiorba e chitarra barocca, Paola Poncet: clavicembalo

Critics

Mostly Music – May 2002

Carlo Ipata’s recording reveals a clear sound together with technical mastery.

TOCCATA Alte Musik Aktuell – January-February 2003

The performance is excellent. Carlo Ipata’s flute is as convincing as the artists who accompany him.

KLASSIK HEUTE –June 1999

AuserMusici’s performance reveals great vivacity. The instruments speak to the listener with very flexible voices.

CD CLASSICA – September 1998

Carlo Ipata understands well the style of this composer, given his exemplary taste and the variety of shading which endows his improvised ornamentation and the accents which his versatile instrument offers.

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Concerto per clavicembalo con violini e basso
Duetto primo per flauto e cimbalo
Sonata per clavicembalo
Duetto quinto per violino e cimbalo

Paola Poncet: clavicembalo, Attilio Motzo, Laura Mirri: violini, Michele Tazzari: violoncello, Carlo Ipata: flauto traverso.

Critics

IL GIORNALE DELLA MUSICA – June 2003

The sensitive and mature musician that is Paola Poncet is capable of passing from an elegiac intimacy to a jaunty brilliance without any difficulty.

EARLY MUSIC REVIEW – April 2003

The performance captures perfectly the atmosphere of the music for the entirety of the recording. We find a delightful elasticity in the rhythm to which is added a refined articulation, particularly in the allegro of the duet between flute and harpsichord.

LE MOND DE LA MUSIQUE – April 2003

To listen to this programme is moving…both in its simplicity and also in its exciting freshness.

CONCERTO Das Magazin für Alte Musik Nr. 191 – March 2003

A marvellous testimony of the Lidarti nowadays completely forgotten.

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Carlo Ipata, Attilio Motzo: Concertazione, Attilio Motzo, Laura Mirri, Cristina Palucci: Violini I, Fancesco La Bruna, Corrado Masoni: Violini II, Luigi Moccia: Viola, Alessandro Palmeri: Violoncello, Massimo Tore: Contrabbasso, Johnatan Pia: Tromba, Paolo Faggi, Francesco Meucci: Corni, Simone Bensi, Ruggero Vartolo: Oboi, Riccardo Balbinutti: Timpani, Paola Poncet: Clavicembalo,

Critics

CONCERTO Das Magazin für Alte Musik Nr. 189 – Dic./Jan.2003/04

In a particular way hits the natural accord between all the sections of the orchestra full of colour.

IL TIRRENO - October 2003

The sweetness of the language lives comfortably together with the spontaneity of the inspiration in this performance by AuserMusici on original instruments.

FANFARE MAGAZINE - July/August 2003

The performances are energetic and musically accurate.

LE MOND DE LA MUSIQUE – April 2003

The enthusiasm of the interpretation transports the listener.

EARLY MUSIC REVIEW – April 2003

AuserMusici deserve to be better known judging by this second splendid performance.

DIAPASON – April 2003

We appreciated the choice of the woodwind made by Auser Musici…the quality of the phrasing is to be noted.

AMADEUS le scelte COMPACT – March 2003

Directed by Carlo Ipata and Attillo Motzo, the orchestra reveals itself as being well-balanced and capable of rendering with great ease all the sumptousness of the baroque writing of the Luccan composer.

MUSICA – March 2003

Faultless and sound, the interpretation of this excellent Italian ensemble communicates to the full the fascination of these pieces, underlining the obvious influences of Handel but also evidencing the characteristics of Barsanti’s personality.

CD CLASSICA – March 2003/Scelta CD

A pleasant, surprising and very musical reading which emphasises both the phrasing and the imagination of the composer.