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Italiensk sommerkampanje fra Dynamic!


Halv pris på utvalgte titler med italiensk musikk. Operaer, ouverturer, kammermusikk og konserter med italienske artister som Valerio Galli, Mario Carbotta, Marcello Fantoni og Renata Cataldi.

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Image BELISSIMO ITALIAN OPERA
kr 40 (kr 79)
Image Cavalleria rusticana
Mascagni’s first and most successful work has become an opera classic as it features elements of the Greek tragedy, mixing up religious and archaic elements. It’s a story of love, passion, jealousy and restored honor in bloodshed. Directors Di Gangi and Giacomazzi set this traditional Cavalleria in a Sicilian village of the 1940s where the buildings are rather bare and the piazza is the stage for private as well as public drama. Conductor Valerio Galli is at the head of the Orchestra del Maggio Musicale Fiorentino, one of the best in Italy. Good performance reviews for the whole cast. “The star of the show is Angelo Villari, who plays an impeccable Turiddu. Thanks to his warm and fiery voice, the Italian tenor adds credibility to a complex character, torn between passion and sensitivity.” corrieredellospettacolo.net “Soprano Alexia Voulgaridou portrays a perfect, melancholic Santuzza. She posesses an excellent vocal instrument and her voice is lyrical, dramatic and emotionally engaging “ corrieredellospettacolo.net “Marina Ogii is a Lola imbued with charm and sensuality, with a warm and cleverly projected voice” connessiallopera.it “Elena Zilio is a well-centered and engaging Mamma Lucia, with a magnetic stage presence and an incredible expressive talent” - connessiallopera.it “Lorenzo Fratini is at the head of the chorus which provides excellent and powerful contributions to the performance.” connessiallopera.it

kr 80 (kr 159)
Image Rossiniana - Themes, Variations, & Fantasias
The début album of duo Antongirolami-Galosi features a collection of works for cello and piano by and about Rossini as homage to the great heritage of the Maestro – who was also a skilled cellist – with whom they share the native region. The programme of this release includes themes, variations and fantasias on music composed by Rossini himself, including some less known chamber pieces, as well as music composed in the Rossinian style by 19th and 20th century composers. Antongirolami and Galosi have played in duo since 2013 and perform at various festivals in Italy.

kr 60 (kr 119)
Image Tiranni affetti - Works for Mandolin & Voice
This release is a world première recording that allows us to rediscover the amazing talent of the 18th-century composer Carlo Arrigoni, whose oeuvre comprises oratorios, operas and a number of arias and cantatas. Born in Florence in 1697, where he held several jobs at Court, Arrigoni subsequently travelled to London, where he collaborated with Giuseppe Sammartini, and then to Vienna. A skilled musician (he played the lute, theorbo and mandolin) and an arranger, Arrigoni’s works were highly praised by the public and critics alike for his ability to merge the stylistic influences of his time (for instance Handel’s operas) within his own personal voice. He died in Florence in 1744. The arias and cantatas featured in this programme were likely composed around 1737–38, during his Viennese period. In them we can fully appreciate the signature style of a mature composer, secure in the wealth of experience acquired during his European trips. His approach to composing is always recognizable and individual, characterized by rich creativity and exceptional mastery of the various techniques. The works included in this release evoke a range of feelings: from moving arias imbued with sorrow and disenchantment, to lighter, more playful atmospheres which are characterized by lively rhythms. An eclectic musician, Arrigoni admirably blends different styles and influences in his output, which ensures that his works are characterized by a very personal and highly convincing imprint. His chamber music output is of historical and musical importance for us today. The sonatas for mandolin contained in this album were published in 2018 by Davide Ferella himself (CDS7821), while the vocal music tracks are still unpublished and preserved on manuscript at the Yale library.

kr 60 (kr 119)
Image Psalms & Sonatas
Benedetto Marcello was born in Venice in 1686 and died in Brescia in 1739. His vast musical output remains largely unexplored, but his most famous work is the Estro poetico-armonico – a collection of fifty psalms, including eleven ancient Jewish songs – called Intonazioni – and two sacred hymns from Greek classicism. Marcello acknowledged the importance of Jewish and classical music heritage, and by blending these different styles, he sought to underline their universal value. This album features Psalms Nos. 21 and 42, as well as the Sonata for Violin and Basso Continuo in E minor Op. 1, No. 1, and the first movements of Sonatas No. 5 in F major and No. 4 in G minor for solo harpsichord.

kr 60 (kr 119)
Image Concerti napoletani per mandolino
kr 80 (kr 159)
Image The violin concertos played on Paganinis violin Vo
kr 80 (kr 159)
Image The violin concertos played on Paganinis violin Vo
kr 80 (kr 159)
Image Paganini Rediscovered
Luca Fanfoni, violin
Luca Ballerini, piano





kr 80 (kr 159)
Image Six String Quartets
kr 80 (kr 159)
Image Concerti Romani
I Musici

Throughout the 17th and early-18th centuries, Rome was a centre for Italian and European instrumental music and a gathering place for many of the most important composers of the day, particularly those writing concertos and sonatas. Consequently, the city became noted for the dissemination of a unique style that was to influence music at an international level for some years to come. Although decadent and depopulated, Rome remained a city of great artistic importance, attracting musicians from all over Italy and beyond.

Arcangelo Corelli was the most prominent figure of Rome’s instrumental music school in the years spanning the end of the seventeenth century and the beginning of the eighteenth. The violinist and composer Giuseppe Valentini was an equally significant figure on the Roman music scene during the first decades of the 1700s. His creative style may have appeared bizarre at times, but it left ample room for the open display of violin virtuosity. Antonio Locatelli lived in Rome during his formative years and was an acquaintance of Giuseppe Valentini. The only musician featured in this programme who was actually born in Rome is Pietro Castrucci. He was a pupil of Arcangelo Corelli and quickly gained renown as a violinist.

This CD would not be complete without a concerto grosso by Francesco Geminiani, one of the greatest 18th-century Italian composers. A highly celebrated violinist and teacher, he was the son of a violinist and studied in Rome with Alessandro Scarlatti, with the Milanese violinist Ambrogio Lonati and, possibly, with Arcangelo Corelli.

kr 80 (kr 159)
Image Italian Operatic Overtures, Vol. 1
Dynamic proudly presents a series of three CDs dedicated to Overtures and Symphonies spanning three centuries of Italian opera. This first volume focuses on the 18th century, and features some real rarities: from Vivaldi (Bajazet and Catone in Utica) to the great Neapolitan school – Traetta, Leo, Paisiello and Vinci – plus Salieri, Sacchini and Sammartini. The programme is performed by specialists in this repertoire, including Federico Maria Sardelli, Antonio Florio, Jean-Claude Malgoire and Giuliano Carella.

kr 80 (kr 159)
Image Italian Operatic Overtures, Vol. 2 - The Early 19t
Dynamic presents the second volume of a series of three releases dedicated to Overtures and Symphonies spanning three centuries of Italian opera. The first volume was dedicated to the eighteenth century, while this second features the early nineteenth century. The great popularity of Italian Opera in European courts and theatres transformed this music genre, which had first appeared at the beginning of the seventeenth century as a court entertainment, into a product of wide international circulation, universally loved. In the wake of its success, other European nations developed a local operatic tradition but Italian opera kept a predominant role in Europe throughout the entire 19th century. That being the case, it was natural for foreign composers to want to study in Italy where they sometimes remained indefinitely, becoming, for all intents and purposes, composers of Italian opera. Two such composers were Mayr and Arrieta, who join in this program, their most important Italian colleagues of that period: Rossini, Donizetti, and Bellini.

kr 80 (kr 159)
Image Vespero della Beata Vergine Antifone mariane
This recording completes the great Cavalli's Vespers cycle of 1675, one year before his death: Vespero della Beata Vergine, Vespero delle Domeniche e Vespero delli Cinque Laudate, all of them published by Dynamic and with the same performers.

kr 80 (kr 159)
Image 18th Century Neapolitan Flute Sonatas
During the 18th century in Naples there was a huge numebr of excellent musicians, so that Neapolitan music reveals an inexhaustive and surprising mine of new discoveries and small masterpieces. None of these sonatas has ever been recorded before.

kr 80 (kr 159)
Image Works for solo guitar
Luigi Moretti was a nobleman, a scholar, a music teacher and a composer whose main works are dedicated to the guitar, although he produced remarkable compositions for voice and piano as well. He was one of the finest members of the splendid Italian guitar season of the first quarter of the 19th century whose works were inexplicably long forgotten. Thanks to the talent and pioneering spirit of Marcello Fantoni, Dynamic is proud to fill this void and release this World Premiere Recording of Moretti’s instrumental works, which reveal the expert hand of an up-to-date and cosmopolitan composer and feature the remarkable interpretative skills of a young and talented guitarist.

kr 80 (kr 159)
Image Et manchi pietà - Artemisia Gentileschi and the mu
Starting from the work of the painter Artemisia Gentileschi (Rome 1593 - Naples ca. 1656), it aims to analyse some features of the painting and music of the early Italian Baroque, highlighting their creative specificities and their emotional substrate. Daughter of Orazio Gentileschi (one of the first Italian Caravaggesque painter), Artemisia was only remembered, until a few decades ago, for the scandal of the rape trial - filed against Agostino Tassi, one of her father artistic partners, who raped her when she was seventeen – and she had to wait over three hundred years to see her value as a painter fully recognized. The music is played by Accademia d’Arcadia, 13 musicians with period instruments and a singer. The 13 pieces performed correspond to 13 famous paintings of Artemisia. A full color booklet shows the 13 paintings with detailed info and texts, a n interesting idea for a great emotional impact. Excellent lutenist, fond of music, Artemisia Gentileschi had relationships with famous musicians of her time. The music program follows Artemisia’s life through her stays in the major Italian cities (Rome, Florence, Venice and Naples) and features pieces by composers who were working in those cities in the same years. The most representative composers and pieces had been selected in order to better present an aesthetic and emotional path.

kr 80 (kr 159)
Image Intermedi della Pellegrina - Firenze 1589 (CD)
Florence, May 2nd, 1589: on occasion of the wedding of the Grand Duke Ferdinando I and Christina of Lorraine an impressive celebration apparatus was put up to display the magnificence of the Medici household. Behind this official event lay an ambitious project which involved an incredible team of the most important poets and musicians of the time, such as Cristofano Malvezzi, Luca Marenzio, Giulio Caccini, Jacopo Peri, Emilio De’ Cavalieri as well as Count Giovanni De’ Bardi, who was engaged to compose the Intermedi for Girolamo Bargagli’s play La Pellegrina. Renaissance intermediums were sumptuous musical interludes inserted between the acts of a theatrical show on allegorical and moral themes with eclectic references to classical mythology. They are considered as the forerunners of musical opera. The spectacular show, which was performed using a complex stage machinery set up in Palazzo Pitti’s Boboli gardens, was an immediate success, so much that the intermediums were performed in the days to follow during another two plays. The Six intermediums in La Pellegrina provide for choral madrigals, double and triple choirs, solo accompanied numbers and instrumental pieces, inserted into the impressive and sumptuous staging by Bernando Buontalenti. 430 years later, Teatro del Maggio Musicale Fiorentino in collaboration with Galleria Degli Uffizi produces the first staging in modern times of the Intermedi della Pellegrina through an itinerant show in Palazzo Pitti’s Boboli Gardens. Stage director Valentino Villa’s approach was to “attempt at an ironic historical reconstruction, [where] imageries blur together, classical mythology is grafted onto contemporary iconography”. Conductor Federico Maria Sardelli leads Modo Antiquo and Chorus Master Alberto Allegrezza is at the head of Coro Ricercare Ensemble and Compagnia Dramatodìa.

kr 80 (kr 159)
Image 8 Sonatas for Harpsichord and Organ
Baldassare Galuppi was an influential and prolific composer of opera and sacred works who maintains a prominent place in the history of 18th-century Venetian music. He was renowned as a keyboard virtuoso, and the sonatas he wrote throughout his life met with appreciable success – the imaginative and improvisatory Sonata in D being one of the most famous in its day. These works – played here in world premiere recordings on harpsichord and organ by acclaimed soloist Luigi Chiarizia – present shining examples of Galuppi’s art from a splendid and arguably unequalled period of Italian instrumental music.

kr 80 (kr 159)
Image Flute Concertos (2CD)
kr 120 (kr 239)
Image Il Farnace (2CD)
Il Farnace is the most re-written and re-proposed of Vivaldi's operas, it's like a beloved child who worries his father, and to whom the parent always wants to give the best. Versions of Farnace, two in 1727 and one each in 1730, 1731 and 1732, had been conceived and adapted to the different circumstances for Venice, Prague, Pavia and Mantua, always with a cast to Vivaldi's satisfaction and with the composer in control of the production.The greatest appreciation of Vivaldi's operatic music was expressed in a letter by a spectator of the 1727 Carnival season, the abbot Antonio Conti. He wrote to Madame de Caylus that of all the operas of the Venice season he liked best Farnace because its music was very varied, "between the sublime and the tender", and because Vivaldi's pupil worked wonders.In 1738, for the Ferrara Carnival season, Vivaldi wrote a new score of the opera. This is the last Farnace, in two acts, as the third was lost.


kr 120 (kr 239)
Image Crispino e la Comare (2CD)
Domenico Colaianni (Crispino), Stefania Bonfadelli (Annetta), Romina Boscolo (La Comare), Fabrizio Paesano (Contino del Fiore), Mattia Olivieri (Fabrizio), Alessandro Spina (Mirabolano), Carmine Monaco (Asdrubale), Lucia Conte (Lisetta) & Francesco Castoro (Bortolo)

Chorus of the Teatro Petruzzelli di Bari, Orchestra Internazionale d'Italia / Jader Bignamini

Dating from the mid-19th century, Crispino e la Comare (Crispino and the Fairy) was composed by the Neapolitan brothers Luigi and Federico Ricci. It's one of the last examples of Italian traditional opera buffa and quickly gained in popularity. Between 1854 and 1871 it was performed literally all over the world - in Constantinople, Barcelona, Malta, London, Cádiz, Rio de Janeiro, Paris, New York, Warsaw, New Orleans, Mexico City, Liège, Brussels, Lisbon, Buenos Aires, Vienna, Santiago de Chile, Baden Baden, Berlin, Calcutta and Melbourne.

The title character enjoys one of the great bass roles of 19th-century opera buffa, demanding equal skills in acting and singing, and captured here by Domenico Colaianni's magnificent performance.

The recording is from the Martina Franca Festival in Italy.

kr 120 (kr 239)
Image I Shardana (2CD)
I Shardana is set in a free Sardinia, an island where rigorous rules are in force and its people do not tolerate invasions or spiritual contamination, a time when - as Ennio Porrino (b. 1910) specifies in the score - shepherds were warriors and judges, "when man did not believe in one God but in the power of the stars, and worshipped the dead and the waters". The opera's first drafts date from 1934-35, but the work only debuted years later, on 21st March 1959, at the San Carlo theatre in Naples, with its final title of I Shardana and Porrino himself conducting. The composer would die suddenly a few months later.


kr 120 (kr 239)
Image L'Arlesiana (2CD)
The Dynamic label presents, in a world premiere in its video formats (DVD and Blu-ray) Francesco Cilea’s rarely heard or produced opera L’Arlesiana (1897, rev. 1898). • It’s the story of Federico, the older son of the widow and farm owner Rosa Mamai, and his insane passion for a mysterious woman who, in the opera, is never shown. Federico wants to marry her desperately, dreams of her, suffers for her, and step-by-step his mind begins to waver. • The people around him try in vain to prevent this love from becoming a damning obsession. • The end result for Federico, however, is tragic. • The opera’s famous aria "Il lamento di Federico" has been a favorite with tenors throughout the ages, including Enrico Caruso. • This recording also features the aria for tenor, "Una mattina", written by Cilea for the opera's first version and then lost, here in world première recording. • Directed by Rosetta Cucchi, a co-production between Teatro Pergolesi and Wexford Festival Opera.

kr 120 (kr 239)
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