Duetti da camera with M.-E. Cencic and W. Christie.

Great Expectations! Philippe was in the studio of Salle Auguste Blanqui in Paris last month together with fellow countertenor Max Emanuel Cencic and recorded an album of duets by Handel, Steggani, Durante, Cesti, Clari and Marcello... Much the same repertoire they performed in concert in Spain and France in January. Conductor was baroque wizard William Christie with Les Arts Florissants. Proposed release: November 2011... - I just can't wait!!

Morten Sletten

Yes, he told me about this recording some time ago.

Would you like to post here the link where did you find this information, please?

Hi,

the program given at the concert in Oviedo also said the duetti were going to be recorded, but it did not give more information. I mean, it said they were going to be released by Virgin Classics, which I think its not a great surprise... we will have to be patient.

Good night!!!

I can´t wait to have this amazing CD..thanks for the information!!

*chokes on morning coffee* that's great news!!!! But November seems too far away...

ups, I totally overseen this post!


Great news, but I´m with karenpat, way to long to wait...


I think we have to be patient...again...;O)

Thank you!

Thanks for this posting. If like me you are having trouble with the link to emiclassics.de = here's a link to the tracklisting:
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I'm so psyched about this release. I even check iTunes every day in the hope that it's being released early here (as was the case with other of Philippe's albums). The youtube clip is great Their voices blend really well together - of course they've performed together in Il Sant'Alessio and Poppea but not in such tight harmonies.

I did it I preorderd the CD!


and now I only have to wait....

At the end of the M - E Cencic interview he talks about the new CD of duets with PJ and one can hear an aria
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Joanna

THANKS

This is absolutely wonderful. The CD will be definitely be my best favourite.

I just pre- order!!... it´s so amazing I think I´m gonna love it!!

I can't wait for this CD to come out - two of my favourite singers competing with nightingales - it doesn't get much better than this.

Sorry, dear friends,
but I prefer to hear PJ when he sings alone or with Marie-Nicole Lemieux. His voice is perfect, pure, clear, while the voice of Cencic seems a bit nasal. I'm not a musician, but I think their duo looks like a cockfight, we see this tension, this competition in the interview with PJ. I can not find the complicity that PJ has with the musicians of Artaserse, L'Arpeggiata or with the Ensemble Matheus.
Here it seems to me rather a record of prestige, a kind of technical achievement. Of course I will listen to the CD and maybe I will change your mind, but what I saw on Youtube does not seem to be in the spirit of PJ.
Friendly

bpidouxl wrote:

Sorry, dear friends,
but I prefer to hear PJ when he sings alone or with Marie-Nicole Lemieux. His voice is perfect, pure, clear, while the voice of Cencic seems a bit nasal. I'm not a musician, but I think their duo looks like a cockfight, we see this tension, this competition in the interview with PJ. I can not find the complicity that PJ has with the musicians of Artaserse, L'Arpeggiata or with the Ensemble Matheus.
Here it seems to me rather a record of prestige, a kind of technical achievement. Of course I will listen to the CD and maybe I will change your mind, but what I saw on Youtube does not seem to be in the spirit of PJ.
Friendly

I may have missed something but weren't these duetti written as a way for castrati to kind of "battle" each other? I think it's a fascinating idea. But we all have CDs that we don't like as much as the others (with me it's the two early Vivaldi discs).

bpidouxl,

I don't prefer Cencic's voice, too, but this project is wonderful and unique and, as said karenpat, fascinating!!!

Giovanni Bononcini: Chi d'amor tra le catene (whole piece)
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bpidouxl

Quote :

Here it seems to me rather a record of prestige, a kind of technical achievement. Of course I will listen to the CD and maybe I will change your mind, but what I saw on Youtube does not seem to be in the spirit of PJ.

I agree ( yet )... it look too....perfectly " staged"... we´ll see.

Jarofil

&

I clearly must be missing something as I am not aware of any "cockfight" or "tension" in the videoclip shown here - competition, possibly, but surely a little competition can be healthy? I love them both to pieces and would willingly go out of my way to attend any such "cockfight" should they decide to go on tour as a tie-in with the CD. As Karenpat says, we all have CDs that we like less - with me, it's Caldara, I'm afraid.

I also recognized a slight atmosphere of competition, but I found it rather funny, those two male divas (please forgive me) pecking at each other? Looking back at the phase of work, both knew they had taken themselves a little bit too serious , it seemed to me. Max laughed "it was hard" and Philippe said, giggling a bit, that each of them had considered himself "plus grave que l'autre".
I think, the result is speaking for itself.

BTW, after having the opportunity to see the Caldara Program live twice this year, it has become my favourite.....

It's absolutely endearing the way these two wonderful singers perform together! Their voices are so different, as well as their approaches to the material, but the result is still fascinating!!! As for the CDs that are less favourite than the others, it's probably Un Concert pour Mazarin (more in the way it's compiled than the performance, though!)

I can´t see there any slight sign of " competition" or rivalry at all - they both are good fellows and colleagues since a long time and are having quite different voices and manner to sing.

So, I hope, this CD will be an exceptional example of an good professional fellowship and understanding. To enjoy !

Don't get me wrong, dear Jana, it seemed to me that they were mocking at each other a little bit, that was all. I don't know if they are friends but they are indeed far too professional for a kind of, let's say it in German "Zickenkrieg".

To my mind, the CD is really well done, especially the two little nightingales are charming.

Don't forget Mr Christie's presence, and we know that both artists respect enormously the Master
I saw extracts of repetitions(rehearsals) and Mr Christie seemed to me very severe
I imagine badly two big professionals as Jaroussky and Cencic playing the spoilt children in front of the one who them one so learnt
In all trades, two professionals may not agree, this is how a work takes shape

rikkapijemi

that's really interesting, is there a possibilty for us to see that as well?

I don´t have the feeling either, that there was a competition between them. Ok, I don´t speak french so I didn´t get what Philippe said. But what I understood what he said was that they had a discussion about choosing the pieces. But I guess it´s normal. I sung in a choir (only 6 person) and we had so many discussions what pieces we want to took in our program. To speak in Max words "It was hard" And we are best friends for years and still are.

For me the two voices fits perfectly together and I´m really looking forward to finaly listen to the CD at the end of the week... As Jana said they having two different voices, Philippe the lighter one and Max the bit deeper one (OK I run out of my english words here, it´s to early and I´m having a headache. I can explain it in German much better, what I mean) Hope you understand what I mean...if not I try to explain again later.

Vandea wrote:

To speak in Max words "It was hard"

When I watched it the first time, with Max's German/Viennese accent it sounded like he said "it was hot"

Rikkapijemi wrote

Quote :

Mr Christie seemed to me very severe
I imagine badly two big professionals as Jaroussky and Cencic playing the spoilt children in front of the one who them one so learnt

I know. I keep thinking Mr Christie as a stern music master and Philippe and Max as two school boys having a singing lesson.

I think Philippe’s voice blend much better with Max EC than with Andreas Scholl. I have no doubt that the joint recital was great but from the Youtube video/audio, I feel Philippe’s voice is slightly pushed too high, maybe in order to contrast with Mr Scholl’s voice. With Max EC, the voices are not contrasted but blended.

Philippe does look less relaxed here than in most videos but maybe he is keeping the pace with Max who seems to be less willing to talk (mind you, nobody is as charming as Philippe!). I often wonder if Philippe’s wonderful way of communicating with people comes from the fact that he had an ‘ordinary’ childhood whereas most countertenors are ex-choirboys. A big bonus for us!

I suppose my least favourite CD is Caldara but I think it is the music rather than his singing. I am looking forward to the new CD very much. There are so many very good counter tenors today. I particularly like (apart from Philippe, of course) Ietsyn Davis but Philippe is definitely unique.

Oh, and I am looking forward very much to see the translation of the songs. It makes the music far more interesting. I envy those who understand Italian.

I hope hope hope I will find the CD in iTunes tomorrow morning (since EMI in Germany claimed that was the release date). I get so confused about Friday releases; albums can be available on Friday in some shops and others have to wait until Monday.
Speaking of Iestyn Davies, when I bought his new Porpora CD it was added to iTunes the week after its official release date..I checked iTunes every day and didn't know what was going on...

@ karenpat I cross the fingers!

I hope I will have mine tomorrow in the post....shame, that I won´t really have the time over the weekend to listen to it. Have to work even on Sunday

I just got it!!!
Great thanks to Amazon!
I'm already listening and of course - I like it! It's not only duetti: both, MEC and Philippe has a solo as well...
It will take some time to listen and concentrate on the lyrics - but I have a day off!

@ Vandea and karenpat (and all the others waiting for it)

I hope you'll get your CD as soon as I!!

Some of you May the French magazine Classica know I just Received the November
This magazine Provides a monthly CD Containing the extracts of the best cd of the month And duet is one of the best of November
Extract from the article: Their meeting Jaroussky and Cencic) is perfect: the celestial and carnal wed Until dizziness

Nenuphar

Lucky you! I´m still waiting...and I ordered from Amazon aswell...

waiting for tomorrow!

What makes it especially fun as the serious magazine Classica makes a glowing review
The article is long and I don't know if I would be able to translate all the nuances
If anyone can do it, I can send it because.
I think that a translation "google "is not sufficient

@ rikkapijemy

I think I might be able to do it if I can find some time at the weekend. How long is the article exactly - i.e. how many pages?

Dear Artemis
J'ai scanné l'article, peut-être puis-je vous l'envoyer par mail
Ce n'est pas long du tout

rikkapijemy

Please, put the scans here , too!

Imaginations baroques

Dear JaRoWi
Here is the article French
Le label Virgin nous propose un voyage en baroquie avec une version fastueuse de Farnace et un récital d’airs de compositeurs aujourd’hui méconnus qui surent concilier le charnel et le céleste

Imaginons... Nous sommes dans les années 1730 à Venise, ou peut-être à Pavie, Mantoue, Trévise, bref dans l'une de ces salles d'opéra où toute l'Europe, Casanova et le président de Brosses en tête, mènent une vie sociale constituée de jeux, d'intrigues, de collations et de bons mots. Ils viennent aussi goûter le talent du vieux Vivaldi, pour l'heure un peu démodé. Mais l'homme est un phénomène et ses colères ont un je-ne-sais-quoi de piquant. On donne Farnace, son œuvre favorite. Diverses moutures ont déjà connu bien des infortunes. Persévérant, il y a ramassé tout ce que son catalogue lyrique compte de meilleur,
alliant la finesse du chant, la promptitude des récitatifs et la grâce instrumentale. Le rideau se lève : éblouissement ! C'est bien le sentiment de l'auditeur actuel qui glisse dans sa platine cette version fastueuse arrivant peu après la réédition Savall chez AliaVox. Comme le maître catalan, Diego Fasolis aime les orchestres opulents et colorés. Leur Vivaldi n'est jamais hystérique, anémié ou asthmatique. Ils savent l'un et l'autre marier nervosité, délicatesse et puissance. Les vents, indispensables à la couleur de l'orchestre, ne sont jamais oubliés. Dans cette nouvelle version, pas de tempos superflus, ni de rocailles inutiles. Le drame sera de bout en bout haletant.
On sait que Farnace, selon les multiples versions remises sur le métier par Vivaldi, fut confié soit à un ténor, soit à un mezzo-soprano. Le contre-ténor Max Emanuel Cencic est cinglant et torturé, jouant à plaisir de son timbre onctueux. On note des différences notables avec d'autres Farnace, notamment la reconstruction du troisième acte laissé inachevé sur le manuscrit ferrarais ici choisi, et le déplacement de certains airs. C'est, en terme musicologique, la différence notable avec la version Savall. Fort heureusement, l'enregistrement propose, en bonus, ces airs oubliés dont la beauté ne saurait l'être, comme le célèbre « Gelido in ogni venu ». Balançant entre fureurs guerrières et suavités, Fasolis a réuni ce que l'on peut aujourd'hui entendre de mieux. Il y a Ann Hallenberg au fruité inimitable (son « Al vezzegiar d'un volto » allie avec maestria séduction et ironie). Mary Ellen Nesi, mezzo-soprano impériale, s'avère une rivale en virtuosité. Emiliano Gonzalez Toro chante d'un ténor gracieux possédant dans le timbre cette blessure troublante ouverte par les flèches de l'amour baroque. Et puis, reconnaissable entre toutes, Karina Gauvin dont on ne saluera jamais assez les teintes comme infinies, la tenue de souffle et la morbidezza innée. Son « Quel!' usignolo che innamorato » sidère.

Le rideau peut alors retomber sur ce qui est d'ores et déjà l'un des sommets de la discographie vivaldienne.

Après ces émotions lyriques, quelques happy few invités par un prince généreux auront le privilège d'un concert avec les deux meilleurs castrats (pardon, contre-ténors) du moment. Cencic et Jaroussky ont élaboré, dans le jardin enchanté de William Christie, un concert de duettistes de très haute tenue. Depuis le Sant'Alessio, on rêvait d'entendre ces deux timbres si différents se marier. Celui de Max Emanuel a évolué : épais et moins cristallin, il offre désormais un chant dense et plus humain. L'angélique Philippe lui donne la réplique. Leur rencontre est parfaite : le céleste et le charnel s'épousent jusqu'à l'étourdissement. Accompanés par des Arts Florissants que William Christie cisèle, ils ont établi un choix de pièces rares. On trouvera du tragique et de la bluette, du bucolique et de l'amusé, mais surtout rien de connu dans un programme convoquant Giovanni Bononcini, Conti, Francesco Mancini. Ce bouquet de « duetti » abrite tout un univers d'humeurs diverses qu'interrompent des cantates solistes, chacun des contre-ténors ayant part égale dans les œuvres de Marcello et de Porpora où leur bel canto brille de tous ses jeunes feux.
Vincent Borel

Merci! thank You, Rikkapijemi.

@ Rikkapijemi,

OK, thanks for the scan. I'll give it my best shot and try to get it done over the weekend (or even before with a bit of luck). Hope Philippe and Max's devoted fans can wait that long.

I'm downloading from iTunes as I type!

My programme for the weekend has filled up so I decided to do this over breakfast! It's not easy to translate as the writer has a rather florid style and things which sound perfectly OK in French can sound laughable when translated literally into English. I've tried to convey the meaning as well as the "spirit" of the piece as best I can. Anyway, it has to be better than Google Translate which would have made a right dog's breakfast of something like this! Here goes:

The record label Virgin is offering us a trip to "Baroque-land" with a sumptuous version of "Farnace" and a recital of arias by composers who, although little known today, knew how to reconcile the earthly (carnal) with the heavenly.

Just imagine ... we are in the 1730s in Venice, or perhaps Padua, Mantua, Treviso; in short, in one of those opera houses where the cream of European society, Casanova and the Président de Brosses at the forefront, lead a social life made up of gaming, intrigues, suppers and witticisms. They also come to enjoy the talent of old Vivaldi, at the time considered a little out of date. But the man is prodigious and his rages have something piquant about them. They are playing "Farnace", his favourite opera. Various re-workings have already met with an ill-fate. Perserveringly, he has assembled the best of his musical catalogue, blending delicacy of singing, alert recitatives and instrumental grace. The curtain rises: dazzling! It's definitely also the feelings of the current listener who slips this sumptuous version, arriving so shortly after Savall's re-edition for Alia Vox, onto their turntable. Like the Catalan maestro, Diego Fasalis likes his orchestrations rich and coloured. Their Vivaldi is nevery hysterical, anaemic or asthmatic. Both of them know how to marry tension with delicacy and power. The woodwinds, essential for the coloration of the orchestra, are never forgotten. In this new version, there are no superflous tempi or any unnecessary ruggedness. From start to finish, the drama is breathtaking.

We know that the rôle of Farnace, according to the various versions performed under Vivaldi, was given to either a tenor or a mezzo-soprano. The countertenor Max Emanuel Cencic is biting and tortured, relishing his rich timbre. There are discernable differences with other versions of Farnace, notably the reconstruction of the third act, left unfinished in the Ferrari manuscript, which is the chosen version here, and the moving of some of the arias. That, in musical terms, is the main difference with the Savall version. Very luckily, the recording offers the bonus of those forgotten arias of such indescribably beauty as the famous "Gelido in ogni venu". Alternating between warlike fury and sweetness (of melody), Fasolis has united the best that can be heard today. There is Ann Hallenberg, with her inimitable fruity timbre (her "Al vezzeghiar d'un volto" masterfully marries seduction and irony. Mary Ellen Nesi, majestic mezzo-soprano, is her rival in virtuosity. Emiliano Gonzalez Toro has a graceful tenor voice (Note from A. : does he mean a "tenor leggiero"?) whose timbre is capably of conveying those troubling open wounds caused by the arrows of baroque love (Note from A. : see what I mean about the florid style?!). And then, easily recognisable above everyone else, Karina Gauvin, whose infinitesimal colours, breath control and innate softness one can never praise enough. Her "Quell' usignolo che inamorato" is staggering.

The curtain can now fall on what is, from now on, one of the high points of Vivaldi recordings.

After all this musical emotion, the happy few, invited by a generous prince, might enjoy the privilege of a concert by the two leading castrati (sorry, countertenors) of the day. Cencic and Jaroussky, in the enchanted garden of William Christie, have drawn up a concert of duets of the highest standard. Ever since"Sant' Alessio" we have been dreaming of hearing the marriage of these two completely different timbres. The timbre of Max Emanuel has changed: deeper and less crystaline, how now has a sound which is more profound and more human. The angelic Philippe (Note from A.: - not sure how the "angelic Philippe" would feel about this description!) is his counterpart. Their meeting is perfection: a dazzling marriage of the celestial and the carnal. Accompanied by the Arts Florissants, polished by William Christie, they have come up with a choice of rare pieces. This includes the tragic, the inconsequential (Note from A. : "bluette" is difficult to translate; it can also mean a fleeting love affairof the sort that shepherds and shepherdesses are given to in pastoral cantati, hee, hee!), the bucolic and the amusing, but especially, nothing well-known in a programme which includes Giovanni Bononcini, Conti, Francesco Mancini. This bouquet of duets covers a universe of different moods, each of the countertenors having an equal part in the works of Marcello and Porpora, where their bel canto shines with all their youthful fire.

Thank you, Artemis.

Countertenöre im Duett
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Thanks God that the DHL guy knows where I´m working! I got the CD and I´m listing to it right now (in my lunchbreak at home )

Just flicked through my translation and have discovered quite a few "typos" and things I could have translated better - but what the heck, I think you'll get the idea ...

I think you really did a fine job, thank you.