Customer Reviews

A. Scarlatti Cantatas, Volume III / McGegan, Brian Asawa

5 star:		(2)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

If you must have one CD of Alessandro Scarlatti's cantatas, here is the one to get. Cantatas I and II are collecting dust in my CD tower, but I gave this disc a permanent slot in my jukebox. Nicholas McGegan and the Arcadian Academy are competent as usual, but what makes Cantatas III shine is countertenor Brian Asawa's marvelously pellucid voice and his skillful interpreation. If McGegan plans to record a complete cycle of Alessandro Scarlatti's cantatas, he should look again to Brian Asawa, who is a master of early-music. Anecdotal addenda: I played Cantatas III at work, and fellow cubicle-dwellers who are not fans of classical or early-music went out and bought this CD. A co-worker plays Cantatas III during her rush hour commute. Asawa's soothing voice calms her nerves. That's quite a feat in Washington, DC traffic!

In the 17th century, Alessandro Scarlatti enjoyed great fame as a composer of opera and chamber cantatas popular in the salons of nobility. The cantata was considered higher art with an emphasis on the poetry that preceded the music. Much of Scarlatti's works are marked by unusual uses of form and harmony, which all served to better illustrate the text. This recording, his third volume of cantatas, is morose in spirit. Beginning with "Nel silenzio comune", the texts portray a young man suffering rejection, nursing the wounds of love. Characterized by a weeping motif "Ferma Omai" prompts harmonies that darken in the accompaniment. In "Clori Vezzosa" and "Piango Sospiri e Peno" chromaticisms are incorporated as a reflection of despair and loathing. The "Non so qual piu m'ingombra" deviates from typical chamber cantatas in that it's subject is not love, but the rapture of the birth of Christ. Recorded by the Arcadian Academy, conducted by Nicholas McGegan, this is an exquisite performance of these often-overlooked chamber works for voice and continuo. At the forefront of a new wave of countertenors, Brian Asawa has a purity of tone, resembling a transparent veil, through which he conveys the text and the meaning of the music with brilliance.

OH! HOW I LOVE TO SUFFER!

Alessandro Scarlatti (1660-1725) noted especially for his operas and cantatas. He was the most widely performed Italian composer of vocal music, with more than 60 operas and well over 600 cantatas. At that time cantatas were regarded as the higher, more concentrated artistic form. The vast majority of the cantatas are for a single high voice(soprano or alto); only a few are for two. There was an emphasis on the poetry that preceded the music. In order to better illustrate the text with which he was working, Scarlatti made frequent use of unusual forms and harmonies.

This collection of five cantatas is morose in spirit, beginning with 'Nel silenzio commune', the text of which portrays a young man suffering rejection, nursing the wounds of love. It has the larger number of movements consisting of 4 recitatives followed by 4 arias; all preceded by a three-movement 'sinfonia'. It is also the earliest of the group.

'Ferma omai'(Escape not)is dated 1724; characterized by a weeping motif, thus prompting darkened harmonies in the accompaniment. It is scored for a string group, and has unusual form - a recitative sandwiched between 2 arias.

In 'Clori vezzosa, e bella' and 'Piango, sospiro, e peno', chromaticism is incorporated as a reflection of despair and loathing.

'Non so qual piu m'ingombra' deviates from typical chamber cantatas in that the subject is not love, but the rapture of the birth of Christ.

This performance conducted by Nicholas McGegan is an excellent portrayal of often-overlooked chamber works for voice and continuo. Countertenor Brian Asawa, discovered his own falsetto voice when he was a young choir member. He liked to sing the soprano part on his way home from choir practice and finally realized maybe that's where he should be singing. He has a purity of tone, resembling a transparent veil, through which he brilliantly conveys the meanings of text and music. His voice actually lies in the 'sopranist' area of the falsetto range; thats my own observation!

This is really a very interesting and entertaining group of cantatas with varying moods and tempos and instruments. Nicholas McGegen and the Arcadian Academy do a splendid job holding it all together.