Rinaldo Alessandrini, Concerto Italiano – Bach: Ouvertures for Orchestra (2019) [FLAC 24bit/88,2kHz]

Facce d’amore, ‘Faces of love’ follows Jakub Józef Orliński’s first solo album, Anima Sacra, which moved Gramophone magazine to announce that “This is a voice with a big future.” It brings a switch from the sacred to the personal and passionate. As the Polish-born, New York-trained countertenor says, the programme – which includes eight world premiere recordings – comprises “operatic arias that tell a story, showing a musical picture of a male lover in the baroque era – not only the positive side, like joyful or reciprocated love, but also anger or even madness.” Spanning some 85 years of the baroque period, the arias on Facce d’amore are by Handel, Cavalli, Alessandro Scarlatti, Bononcini, Conti, Hasse, Orlandini, Predieri and Matteis. Orliński is again partnered by the instrumentalists of Il Pomo d’Oro and their Principal Conductor Maxim Emelyanychev.

Facce d’amore, ‘Faces of love’, is the second solo album from countertenor Jakub Józef Orliński. It follows Anima Sacra, released in 2018, an Erato debut which moved Gramophone magazine to announce that “This is a voice with a big future,” and The Sunday Times, having extolled the “the unearthly beauty of Orliński’s tone, his pearly coloratura and fabulous breath control,” to say, “He’s only 28, but this is a special voice to look out for.”

The new album brings a switch from the sacred to the personal and passionate. As the Polish-born, New York-trained singer explains: “On Anima Sacra I wanted to take listeners on a spiritual journey through an entire programme based on sacred music of the 18th century. The idea behind Facce d’amore is a bit different.”

The programme – which includes an impressive eight world premiere recordings – comprises “operatic arias that tell a story, showing a musical picture of a male lover in the baroque era. They focus on totally different aspects of love – not only the positive side, like joyful or reciprocated love, but also the side where the characters are possessed by anger or even madness.”

The album, which spans some 85 years of the baroque period, includes arias by major figures like Handel, Cavalli and Alessandro Scarlatti, by composers whose names have regained currency over recent decades, like Bononcini, Conti and Hasse (who wrote the virtuosic ‘Sempre a si vaghi rai’ – one of the album’s world premieres – for the legendary castrato Farinelli), and by relatively obscure names like Orlandini, Predieri and Matteis. As for Anima Sacra, the bass-baritone Yannis François advised on the conception and compilation of the programme for Facce d’amore, while Orliński’s performance partners are again the instrumentalists of Il Pomo d’Oro and their Principal Conductor Maxim Emelyanychev.

A great deal has happened in Jakub Józef Orliński’s career since the release of Anima Sacra, which has taken his name around the world. The New Yorker magazine has summed him up with the headline “A millennial countertenor’s pop-star appeal”, while his assumption of the title role in Handel’s Rinaldo at Glyndebourne Festival Opera in August 2019 led the Financial Times to write that: “Jakub Józef Orliński is the new countertenor on the block. In the short time that he was been singing at the top level he has matured at speed and his Rinaldo is the number one reason for catching this run of performances.”

Tracklist:

CD1
01. Orchestral Suite No. 3 in D Major, BWV 1068: I. Ouverture
02. Orchestral Suite No. 3 in D Major, BWV 1068: II. Air
03. Orchestral Suite No. 3 in D Major, BWV 1068: III. Gavottes
04. Orchestral Suite No. 3 in D Major, BWV 1068: V. Bourrée
05. Orchestral Suite No. 3 in D Major, BWV 1068: VI. Gigue
06. Ouverture-Suite in E Minor: I. Ouverture. Allegro
07. Ouverture-Suite in E Minor: II. Air I
08. Ouverture-Suite in E Minor: III. Les plaisirs. vitement
09. Ouverture-Suite in E Minor: IV. Menuets
10. Ouverture-Suite in E Minor: V. Air II
11. Ouverture-Suite in E Minor: VI. Rigaudons
12. Ouverture-Suite in E Minor: VII. Courante
13. Ouverture-Suite in E Minor: VIII. Gavotte en rondeaux
14. Orchestral Suite No. 1 in C Major, BWV 1066: I. Ouverture
15. Orchestral Suite No. 1 in C Major, BWV 1066: II. Courante
16. Orchestral Suite No. 1 in C Major, BWV 1066: III. Gavottes
17. Orchestral Suite No. 1 in C Major, BWV 1066: IV. Forlane
18. Orchestral Suite No. 1 in C Major, BWV 1066: V. Menuets
19. Orchestral Suite No. 1 in C Major, BWV 1066: VI. Bourrées
20. Orchestral Suite No. 1 in C Major, BWV 1066: VII. Passepieds

CD2
01. Orchestral Suite No. 4 in D Major, BWV 1069: I. Ouverture
02. Orchestral Suite No. 4 in D Major, BWV 1069: II. Bourréess
03. Orchestral Suite No. 4 in D Major, BWV 1069: IV. Gavottes
04. Orchestral Suite No. 4 in D Major, BWV 1069: V. Menuets
05. Orchestral Suite No. 4 in D Major, BWV 1069: VII. Réjouissance
06. Ouverture in G Major: I. Ouverture
07. Ouverture in G Major: II. Air I
08. Ouverture in G Major: III. Menuet
09. Ouverture in G Major: IV. Gavotte
10. Ouverture in G Major: V. Air II
11. Ouverture in G Major: VI. Bourrée
12. Orchestral Suite No. 2 in B Minor, BWV 1067: I. Ouverture
13. Orchestral Suite No. 2 in B Minor, BWV 1067: II. Rondeau
14. Orchestral Suite No. 2 in B Minor, BWV 1067: III. Sarabande
15. Orchestral Suite No. 2 in B Minor, BWV 1067: IV. Bourrées
16. Orchestral Suite No. 2 in B Minor, BWV 1067: V. Polonaise-Double
17. Orchestral Suite No. 2 in B Minor, BWV 1067: VI. Menuet
18. Orchestral Suite No. 2 in B Minor, BWV 1067: VII. Badinerie