Duetti

.... sopranos. If they choose. Or altos. The chief obstacles being years of training and innate musicianship. Hey, what's to stop you!Philippe Jaroussky trained first as a violinist and then as a pianist, before committing himself to singing at the Early Music Faculty of the Conservatoire de Paris. Max Emanuel Cencic was a singer from the start; from 1987 to 1992, he was a member of the Vienna Boys' Choir, where he was frequently a featured soloist. Recordings of Cencic as a boy soprano are still available, with his performance in Johann Strauss II's "Frühlingsstimmen" a example of astounding precocious virtuosity. There's the training; you'll be able to hear the innate musicianship on the CD.Jaroussky is the higher and more agile soprano throughout these duets, while Cencic shows some aptitude for sounding like an alto even when singing in a soprano register. Their voices are distinct enough to distinguish their roles in the excerpted recitativos and arias without worrying over the texts. Each singer has a solo cantata with which to display his special timbres. Jaroussky sing the cantata Quanto mai saria più bello by Francesco Mancini, while Cencic sings Nicola Porpora's Ecco che il primo albore, with two violins playing obbligato. The duet sellection include two "duetti da camera" by Giovanni Bononcini, a excerpt and a full pastoral cantata by Benedetto Marcello, and a brief duet by Alessandro Scarlatti. Bononcini is a composer who works impress me more and more, as more and more excellent performances of it are recorded.Duets were the exception raher than the norm in Italian baroque cantatas, serenatas, and operas. Many a major work, in fact, has no more than a single perfunctory lovers' making-up duet. So these selections are of special interest. The most flamboyant coloratura writing was reserved for the solo arias, to be sung by the superstars, including the acclaimed castrati. Duets provided the composers the chance to display their mastery of counterpoint and of sweeter 'affects'. There are aerial displays to be heard on this CD, from both men, but the most interesting moments, for me, are to be heard in their "mixing and matching" -- their exquisite ensemble technique and their complementary timbres.And of course, there's Bill Christie with Les Arts Florissants. The CD notes suggest that Christie himself initiated this project of recording Jaroussky and Cencic together. If so, it's one of a long list of things "we" need to thank Christie for.

Many in the music world have eagerly awaited the release of this album, which features two of the most gifted male sopranos: Philippe Jaroussky and Max Emmanuel Cencic. Those listeners who have marveled at Jaroussky's exploration of Vivaldi's operas through his "Vivaldi Heroes" Album, and at Cenci's disc of Handel arias, would certainly embrace an album of duets featuring both artists together. Adding the direction and collaboration of the veteran conductor William Christie simply sweetens the anticipation! However, listeners expecting more music like jaw-dropping Vivaldi arias and exciting Handel melodies will not be getting what they anticipate. Instead, the artists have chosen the more intimate, gentle and introspective chamber music of the early Baroque: composers such as Bononcini, Mancini, and Alessandro Scarlatti. These works were originally composed for the most gifted singers of the day, and were meant for small audiences of musical intellectuals. The instrumental accompaniment is minimal: a pair of violins perhaps, a cello, harpsichord, theorbo or lute. The choices of music include chamber duets (single duets set to poetry), cantatas for two soprano voices, and solo cantatas. In fact, two of the works recorded here (a cantata by Mancini and a cantata by the great operatic master Porpora) are solo cantatas, and feature Jaroussky or Cencic singing alone. There are a total of eight works featured, and the recording engineers graciously separate the recitatives from the arias and duets so that your favorites can be repeated with ease. The music is quiet, beautifully luscious, and sung with sensitivity and love by both singers. Their voices fit together perfectly, flowing through the music with ease and great sensitivity to text and meaning (as noted by William Christie in the liner notes, and one gets the idea that this disc was his brain child). The best way to enjoy this album is to listen with intent in a darkened room, alone or with an intimate friend, a glass of fine wine, and simply let the gorgeous sounds wash over you. It is a true delight to know that this beautiful music has been resurrected.

This is a nice collection of duets (with one solo work each for Max and Philippe) for countertenors. Christie writes that these two were sublime together in various opera productions and he wanted to spend time pairing the two together. The voices are distinct enough you can tell them apart, but they do mesh well. It helps that they picked a good selection of pieces - many from composers writing for castrati.A very small "Les Arts Florissants" plays back up band. Nicely recorded recital.