Renato Dolcini News
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2024-04-23
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2020-07-17 07:21:52
Almost sacred opera: the French group Les Accents in an engaging account of one of Alessandro Scarlatti's oratorios for 17th century Rome
Alessandro Scarlatti Il martirio di Santa Teodosia; Emmanuelle de Negri, Emiliano Gonzalez Toro, Renato Dolcini, Anthea Pichanick, Les Accents, Thibault Noally; APARTE Reviewed by Robert Hugill on 17 July 2020 Star rating: 3.5 (★★★½) Scarlatti's oratorio gets its first recording in an engaging performance, which opens a valuable window onto the world of 17th century Italian oratorioFrom the mid-17th century, oratorio in Italy started to move away from its sacred roots and take on elements of opera. Whilst there were still oratorios in Latin, those in Italian developed and instead of narrator and chorus the works relied on the interaction between characters (Biblical, historical or allegorical) in a sequence of arias and recitatives. This arose particularly in Rome where staged performances of opera were intermittently banned, leading to the development of oratorio as something of a replacement.Giacomo Carissimi wrote some of the best known Italian oratorios of the […]
2018-08-26 08:37:00
Salzburg Festival (2) – L’incoronazione di Poppea, 22 August 2018
Haus für Mozart Poppea (Sonya Yoncheva), Nerone (Kate Lindsey)Images © Salzburger Festspiele / Maarten Vanden Abeele Poppea – Sonya Yoncheva Nerone – Kate Lindsey Ottavia – Stéphanie d’Oustrac Ottone – Carlo Vistoli Seneca – Renato Dolcini Virtú, Drusilla – Ana Quintans Nutrice, First Friend of Seneca – Marcel Beekman Arnalta – Dominique Voisse Amore, Calletto – Lea Desandre Fortuna, Damigella – Tamara Banjesevic Pallade, Venere – Claire Debono Lucano, First Soldier, Tribune, Second Friend of Seenca – Alessandro Fisher Liberto, Second Soldier, Tribune – David Webb Littore, First Consul, Third Friend of Seneca – Padraic Rowan Mercurio, Second Consul – Virgile Ancely Solo Dancer – Sarah Lutz (Needcompany) Chroreographic collaboration – Paul Blackman (Juxtapoz) Jan Lauwers (director, designs, choreography) Lemm&Barkey (costumes) Ken Hioco (lighting) Elke Janssens (dramaturgy) Bodhi Project and Salzburg Experimental Academy of Dance Les Arts Florissants William Christie (musical […]
2017-05-21 17:55:00
[…] every moment, though Cavalli takes his time to make a point. Baráth is a good comic actress, singing a superb Helen of Troy in Elena (Il rapimento d'Helena) at Aix-en-Provence a few years ago. Raffele Pe sang Linceo, switching from lover to killer, and back. Ana Quintans, a Glyndebourne favorite, sings Hipermestra;s loyal maid Elis. Benjamin Hulett sings Arbante - yes, sex and violence are very Cavalli ! Renato Dolcini sings Danao, Anthony Gregory sings Valfrino. David Webb sings Arsace and Alessandro Fisher sings Delmiro/Alindo. Special honours to Mark Wilde who sings Berenice, the camp but sinister drag queen. It's not a comic role, though it has to be played for laughs. Berenice has gone through many husbands, however she/he disposed of them. Part witch, part victim, the part serves to remind us that in extremist power structures, women and the powerless […]
2015-04-25 17:07:51
[…] performer had his or her moment to shine: the Spanish soprano Lucia Martin-Cantón brought a small, glittering soprano to Handel’s aching “Lascia la spina,” the earlier version of the more famous “Lascia ch’io pianga” from Rinaldo. French mezzo Lea Desandre spat out a scintillating “Gelosia” full of fiery coloratura, while another Vivaldi aria, from Il Tigrane, provided Nicholas Scott with an opportunity to reveal a pleasantly plangent tenor. Italian countertenor Carlo Vistoli and baritone Renato Dolcini both went mad as Orlando, the former in a strikingly mature stab at Handel’s astonishing version and Dolcini in a febrile reading of Vivaldi’s more histrionic scena. The arrestingly tall and thin American bass John Taylor Ward was less impressive in his solo by Stradella in the first half but later dazzled in a witty comic duet with Desandre by Domenico Sarro. In addition to the Sarro, the second half ventured into some lively […]
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