First performed at the Paris Opéra in 1802, Sémiramis by Charles-Simon Catel is an example of the revival at that time of the tragédie lyrique inherited from Gluck. A work with a touch of exoticism (Babylon), expressing the pathos of isolation, but also with pomp in its ambitious finales, the work bade farewell to the ‘Louis-XVI style’ and announced, in a neo-Classical style, the grand opéra of the Romantic period. But it came at a time of polemics between supporters and detractors of the new Paris Conservatoire, where Catel, at that time professor of harmony there, had made so many enemies that the audience pit at the Opera was bristling with vengeful hostility when the curtain rose on the first act…
25 disc box set featuring music for the classical guitar from the 16th century up to the present day. Some of the works performed include 'Chaconnes' by Bach and Telemann, '12 Sonatas' by Scarlatti, 'Guitar Concertos' by Vivaldi, Rodrigo's 'Concierto de Aranjuez' and Brouwer's 'Music for Solo Guitar'.
The composition of Semiramide took approximately four months, which is an unusually long span for Rossini. The premiere took place on the 3rd of February of 1823. The opera’s libretto is based on Voltaire’s drama Sémiramis, written by the French philosopher and scholar in 1748. For some respects a conclusive work, Semiramide contains, like all masterpieces, traditional elements alongside innovative ones. Rossini accentuated the role of the orchestra, compared to his previous serious operas: the Sinfonia, the longest and most elaborate Rossini ever wrote, immediately suggests Rossini endeavoured to give the instrumental part a more important role yet than usual. At the same time, the bel canto dimension is probably more developed than in any other previous Rossinian serious opera.
Produced by the Bru-Zane Foundation, whose mission is to aid in the rediscovery of unjustly neglected French music, 1780 to 1920. An album of Romantic French cantatas by Cherubini, Heand Boisselot in the company of an exceptional guide, mezzo-soprano Karine Deshayes, Opera Fuoco and its conductor, David Stern. The French Cantata, a Baroque-era presence, was restored to favor in the 19th century as an alternative to the Italian stage, then generally perceived in France as being overly exuberant.