L’essence même de l’opéra baroque est concentrée dans cette oeuvre éblouissante de Pergolèse: nouvel amour, pouvoir, revanche, passion… Le tout est défendu avec maestria par une distribution sans faille couronnée par le talent exceptionnel du contre-ténor Franco Fagioli.
De essentie van barokke opera is geconcentreerd in dit schitterende werk van Pergolesi: ontluikende liefde, macht, wraak, passie … Hier meesterlijk verdedigd door een feilloze cast met het uitzonderlijke talent van de countertenor Franco Fagioli als hoogtepunt.
in Opera Now (Feb, 2017)
Pergolesi’s Adriano in Siria was premiered in Naples in 1734. Its libretto by Metastasio, which concerns the Emperor Hadrian’s time as Governor of Syria, certainly hit the Zeitgeist: rather remarkably, it was flogged to death and set by almost 70 composers, from Caldara in 1732 to Mercadante in 1828. Countertenor Franco Fagioli really pulls out all the stops as Farnaspe, a role written for the castrato Cafarelli who must have been superhuman in his vocal abilities. Two-octave lunges, phrases without end – Fagioli relishes it all. Yuriy Mynenko’s countertenor is juicier-toned, and he successfully tackles the titular Adriano, a role originally created by a soprano. Romina Basso is a gorgeous Emirena, …
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in Early Music Today (Sep, 2017)
Although Pergolesi’s operas have all appeared on DVD, surprisingly few are currently available on CD, so it’s a shame this new recording of Adriano in Siria is such a disappointment. First, a technical issue: it appears someone decreed that each act had to fit onto a single disc. This works for Act 2 (51 minutes) and Act 3 (41 minutes), but Act 1 clocks in at 85 minutes and, as anyone who has ever burned a CD-R will know, if you try to squeeze more than 80 minutes of music onto a disc, the sound is likely to flutter, jump and distort towards the end. That it happens here at the …
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