DISCOGRAPHY

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DETAILS

Composer: MOZART Wolfgang Amadeus
Soloist(s): Roberto Saccà, Annick Massis, Monica Bacelli
Veronica Cangemi, Julia Kleiter, Stefano Ferrari
Conductor(s): Tomás Netopil
Orchestra(s): Orchestra of Teatro La Fenice di Venezia
Number: CDS524
Choir(s): Chorus of Teatro La Fenice di Venezia
Released: 2008
Live recording from Teatro la fenice di Venezia in 2006
Label: DYNAMIC

Description:

Using the traditional structures of Neapolitan opera as a basis, in Lucio Silla Mozart gave life to a style that was very advanced in both forms and contents: the choruses, the great number accompanied recitatives, the arias that were not necessarily scored with the ”da capo” structure represent the opera’s main novelties alongside wholly unusual, bold harmonic and melodic features. The use of various forms of solo aria - and the consequent abandonment of the single ”da capo” model - confirms the composer’s wish to find the structures best suited to the expression of various different emotional states. Alongside the characters of Neapolitan theatre, accentuated compared to the models, we thus find traces of an impassioned spirit, seeking to reach beyond conventional patterns. This comes about not only through decidedly massive use of the orchestra, which accompanies and illustrates the action with a very marked poetic sense and does not limit itself to redoubling the song, but indeed inserts new melodies and denotes independent treatment of the single timbres, but also through a wholly personal representation of emotions overstepping the situations offered by the libretto as it aims for almost an passionate tragic nature. With this his third ”dramma per musica” Mozart successfully concludes his activity in Italian theatres; he does not achieve any concrete openings for his profession, but does draw artistic profit from the experiments he carries out here, which will be exploited in later titles in his catalogue. (c) DINAMIC


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REVIEWS
lang...'' Parisian soprano Annick Massis ( in scintillating form as Giunia) ''...
John Pitt | www.new-classics.co.uk | October,2008
langE' un piacere ritrovare Annick Massis, la quale affronta e risolve l' impervia struttura di Giunia con disinvoltura ( buona la sua esecuzione dell' aria <> irta di diavolerie vocali di ogni genere ), trovando accento di accorata espressivi.
Musica | Giovanni vitali | april, 2008
lang...'' La vedette fémminine de la distribution est cepandant la giunia d' Annick Massis, forte présence, voix ravissante et bien menée, aux aigus brillants ''....
www.classiqueinfo-disque.com | Richard Letawe | March, 2008

up coming dates
28 Sep. 8, 12 Oct.
JÉRUSALEM | Hélène
Teatro Regio | Parma

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Maria Stuarda
Opéra de Marseille | Novembre 2016


D'une élégance souveraine, Annick Massis émeut jusqu'à la dernière minute. Annick Massis, enfin dont la prise de rôle était particulièrement attendue , prouve, à l'instar de Patrizia Ciofi, que Maria Stuarda n'est pas hors de portée d'une soprano "lirico coloratura", pour peu que celle ci ait l'intelligence de ne pas s'inventer une voix autre que la sienne. Forte d'une technique sans faille et d'une musicalité hors pair ( quel raffinement dans les pianissimi !), elle franchit les écueils " à priori " les plus insurmontables, y compris la fameuse invective de la fin de l'acte II ( " Figlia impura di Bolena" ) , d'une dignité saisissante. Féminine jusqu''au bout des ongles, d'une élégance souveraine, Annick Massis émeut ainsi jusqu'à la dernière minute de l'ouvrage, conclu sur un contre ré bémol rayonnant et longuement tenu . Et son trac plus où moins perceptible selon les moments, finit même par servir son personnage de reine victime, à la fois résignée et pleine de courage. Il est possible d'incarner Maria Stuarda d'une manière différente - les exemples célèbres ne manquent pas. La voie choisie par Annick Massis est, dans tous les cas, parfaitement défendable.Richard Martet - Opéra MagazineDécembre 2016 - Numéro 123


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