Perfect breath control, perfect pitch control, pitch-perfect affect, an absolute model performance of baroque arias by Alessandro Scarlatti, Bonocini, Caldara, and Broschi, chosen from operas that are tragically unlikely to be produced anywhere near you anytime soon. There's been a glorious abundance of 'recital' CDs by sopranos and altos who have mastered the special vocal techniques for singing 17th and 18th C arias; I'll list some of my favorites in the first comment below. This recording - Colori d'Amore - Colors of Love - may well be the best. And I may need to endow a Prize to back up my opinion. It's appreciably better than Kermes's 2007 recording of Vivaldi motets with the Venice Baroque Orchestra. It seems worthy of being a career pinnacle for this established star of the opera stage.
Simone Kermes, crowned 'The Queen of Baroque' by Opera News, presents her eagerly awaited new album. Colori d'Amore (The Colours Of Love) is a selection of virtuosic baroque arias bound together by the theme of love, almost all of which are world premiere recordings, having been unjustly neglected for centuries.
Echo Award, Midem Award, several Diapason d’Or, “BBC Music Choice” (BBC Music Magazine), “Disc of the Month” (Gramophone).
The legendary label, deutsche harmonia mundi, releases a special 50 CD boxset featuring star performers such as Hille Perl, Nikolaus Harnoncourt, Dorothee Oberlinger, Simone Kermes, and Nuria Rial and more! This collection displays the sheer variety available from the dhm archive. A perfect collection ranging Medieval, Renaissance, Baroque and Romantic music.
With her new album Simone Kermes presents her dedication to bel canto. Despite the title the Baroque soprano hasn’t suddenly switched from one voice type to another but is simply following her own interpretation of this term, arguing that bel canto is “inconceivable without reference to the Baroque tradition”.
The Leipzig-born Simone Kermes is one of the most sought after sopranos internationally for dramatic coloratura roles. Her remarkable vocal range predestines her particularly for the virtuoso works of baroque masters such as Handel and Vivaldi but also for Mozart's, Haydn`s and Beethoven`s sopranos and concert arias.
Emblazoned on the title page of many an 18th-century Italian opera libretto, “dramma per musica” soon became the name for the operas composed to those words. The name perfectly evokes the fury of passions which the masterpieces of the period captured with such power.