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Capella Mediterranea – Amore siciliano (2024)
FLAC (tracks) 24 bit/192 kHz | Time – 01:06:48 minutes | 2,38 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
Love, drama and betrayal under the Sicilian sun: this ‘pasticcio’ of folk melodies and music by ‘learned’ composers was born of the love of Leonardo García Alarcón and the singers and musicians of the Cappella Mediterranea for Calabrian, Sicilian and Neapolitan songs dating from the seventeenth and eighteenth centuries. We hear music by Alessandro Scarlatti and Sigismondo d’India, both born in Palermo, as well as works from the extraordinarily rich collection of St John’s Co-Cathedral in Malta (notably by Vincenzo Tozzi). Leonardo García Alarcón even composed a five-part fugue on La canzone di Cecilia , associated with the heroine of the drama. The music was arranged by Quito Gato. This tribute to southern Italy by Cappella Mediterranea has triumphed on stage for years; now this recording immortalises it.
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Choeur de Chambre de Namur, Capella Mediterranea, Leonardo García Alarcón – Arcadelt: Missa Noe Noe (2023)
FLAC (tracks) 24 bit/192 kHz | Time – 01:02:30 minutes | 1,80 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Ricercar
Given that not one of the Masses by Jacques Arcadelt was included in our boxed set that revealed his immense musical personality to the world, we now remedy this situation with an indispensable addition. Leonardo Garcia Alarcon chose the Missa Noe Noe, which is presented here in the context of the Christmas liturgy. We have also included motets not only by Arcadelt but also by Josquin Desprez, as he was the great model for musicians of his generation. The recording ends resoundingly with Josquin’s imposing Benedicta es coelorum regina for six voices, although in an expanded version for twelve voices by Jean Guyot de Chatelet (1512 – 1588): another Walloon composer to be discovered!
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Capella Mediterranea, Chœur de chambre de Namur & Leonardo García Alarcón – Antonio Draghi & Leonardo García Alarcón: El Prometeo (2020)
FLAC (tracks) 24 bit/176,4 kHz | Time – 02:06:32 minutes | 4,09 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
The original score of El Prometeo (Prometheus) is held in the Leopoldine Library in Vienna. It dates from 1669 and was written by Antonio Draghi, a composer who was also a singer, notably in the operas of Cavalli. For the first time in history, an Italian set a text in Spanish. The last act of El Prometeo has disappeared. But since the libretto of this act has survived, Leonardo García Alarcón decided to rewrite all the music for it. ‘I immersed myself in Draghi’s music in order to understand his style, his favourite intervals, the type of melody he composed and the type of basso continuo he was fond of, so as to try to produce a score that is worthy of him. So I hope that this third act will measure up to his music, his intentions and his creativity!’ says the Argentinian conductor. Directing a brilliant cast (Fabio Trümpy, Mariana Flores, Giuseppina Bridelli, Scott Conner, Borja Quisa, Zachary Wilder, Ana Quintans), Leonardo García Alarcón brings this Baroque opera to life in Spanish, an opportunity to show his love for his mother tongue, ‘a supremely musical language’!
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Capella Mediterranea – Monteverdi: L’Orfeo (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:45:32 minutes | 2,05 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
Monteverdi’s L’Orfeo is naturally an iconic work for Leonardo Garc’ia Alarc’on. The Argentinian conductor has performed and matured his interpretation of Monteverdi’s masterpiece throughout his life. Together with his group of soloists, the Namur Chamber Choir and the Cappella Mediterranea ensemble, he now presents his vision of L’Orfeo: Monteverdi’s opera is as much the apotheosis of the Renaissance as a testimony to the nascent Baroque style. This is what strikes us when we listen to this new recording, which so eloquently emphasises the contrasts between sometimes nostalgic glances towards the past and the most innovative expressions of operatic language. The printed score, published two years after the premiere in Mantua in 1607, offers contrasts too: is it the snapshot of a specific performance or a ‘blueprint’ intended for future performers? In fact, it is both, and that is where we find the tricky questions that must be answered by those who open this precious document; Leonardo Garc’ia Alarc’on does so here in a manner at once respectful, inventive and theatrical.
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