Gasparini: Atalia Camille Poul, Bastien Rimondi, Mélodie Ruvio, Furio Zanasi, Ensemble Hemiolia & Emmanuel Resche-Caserta

• Arcangelo Corelli (1653 - 1713): Concerto grosso in B-Flat Major, Op. 6 No. 5:
• 1 Corelli: Concerto grosso in B-Flat Major, Op. 6 No. 5: I. Sinfonia 03:26
• Francesco Gasparini (1661 - 1727): Atalia, Pt. 1:
• 2 Gasparini: Atalia, Pt. 1: Serenatevi ò pensieri 02:50
• 3 Gasparini: Atalia, Pt. 1: Mà de fantasmi atroci 01:28
• 4 Gasparini: Atalia, Pt. 1: Destatevi à l'armi 02:50
• 5 Gasparini: Atalia, Pt. 1: Entro à gl'orti Reali, ò mia Sovrana 00:28
• 6 Gasparini: Atalia, Pt. 1: D'un affanno, che celato 01:28
• 7 Gasparini: Atalia, Pt. 1: Sì sì vuò trionfare, appresta Ormano 02:21
• 8 Gasparini: Atalia, Pt. 1: Se vedessi le mie pene 03:17
• 9 Gasparini: Atalia, Pt. 1: Quel dolore che seco 01:07
• 10 Gasparini: Atalia, Pt. 1: Ah nemico del moi ben 01:11
• 11 Gasparini: Atalia, Pt. 1: O à fedel servitù, creda mercede ! 00:26
• 12 Gasparini: Atalia, Pt. 1: Quella mano, che sembra Tiranna 01:45
• 13 Gasparini: Atalia, Pt. 1: Ormano, è ugual fierezza 00:40
• 14 Gasparini: Atalia, Pt. 1: Son Tiranna 02:23
• 15 Gasparini: Atalia, Pt. 1: Mà che più si dimora ? 00:32
• 16 Gasparini: Atalia, Pt. 1: Non vuò placarmi più 01:42
• 17 Gasparini: Atalia, Pt. 1: Vado, ma ben t'inganni 03:28
• 18 Gasparini: Atalia, Pt. 1: Proverai ciò che giovi 01:31
• 19 Gasparini: Atalia, Pt. 1: Donna rea, mostro inumamo 02:10
• 20 Gasparini: Atalia, Pt. 1: Se il vedere oltraggiato 01:35
• 21 Gasparini: Atalia, Pt. 1: Lascia di paventar 01:22
• 22 Gasparini: Atalia, Pt. 1: Và, che del Regno d'Israele, Ormano 00:41
• 23 Gasparini: Atalia, Pt. 1: Fanciullino, e quando mai 04:35
• 24 Gasparini: Atalia, Pt. 1: Nutrice, il petto molle 00:33
• 25 Gasparini: Atalia, Pt. 1: Datti pace, forse un giorno 01:42
• 26 Gasparini: Atalia, Pt. 2: Ombre, cure, sospetti 06:18
• Atalia, Pt. 2:
• 27 Gasparini: Atalia, Pt. 2: Vanne fuggi Atalia, misera fuggi 00:23
• 28 Gasparini: Atalia, Pt. 2: Sù correte 01:58
• 29 Gasparini: Atalia, Pt. 2: Che miro ? Ò fiera sorte ! 00:25
• 30 Gasparini: Atalia, Pt. 2: Sarò un ombra, sarò morte 01:02
• 31 Gasparini: Atalia, Pt. 2: E tanto ardisci ? Olà ? 00:39
• 32 Gasparini: Atalia, Pt. 2: Per tormentarti 02:12
• 33 Gasparini: Atalia, Pt. 2: E nella dura sorte 00:10
• 34 Gasparini: Atalia, Pt. 2: Si ride del furor 02:26
• 35 Gasparini: Atalia, Pt. 2: O potere, ò volere 00:49
• 36 Gasparini: Atalia, Pt. 2: Par, che vada à poco, à poco 02:21
• 37 Gasparini: Atalia, Pt. 2: Dimmi ò fido eseguisti 00:42
• 38 Gasparini: Atalia, Pt. 2: Dunque 00:58
• 39 Gasparini: Atalia, Pt. 2: Miei fidi, al Tempio, andianne al Tempio 00:11
• 40 Gasparini: Atalia, Pt. 2: Godete ò di Giudea Turbe infelici 00:54
• 41 Gasparini: Atalia, Pt. 2: O mirabil Providenza ! (I) 02:28
• 42 Gasparini: Atalia, Pt. 2: Ah mie genti Infedeli 01:12
• 43 Gasparini: Atalia, Pt. 2: Oh che fierezza ! Non v'è pietà ? 01:45
• 44 Gasparini: Atalia, Pt. 2: La stagion, ch'è più severa 01:27
• 45 Gasparini: Atalia, Pt. 2: O mirabil Providenza ! (II) 01:56
• Total Runtime 01:15:47

Info zu Gasparini: Atalia

Weltersteinspielung: Die schreckliche Atalia hat die gesamte königliche Familie ausgelöscht, um ihre Macht zu sichern, und regiert gnadenlos über Jerusalem. Doch sieben Jahre später ist der Hohepriester entschlossen, ihrer Tyrannei ein Ende zu setzen, und schließt sich mit General Ormano und der weisen alten Nourrice zusammen, um den kleinen Joas, den einzigen Überlebenden des Massakers, auf den Thron zu bringen. Emmanuel Resche-Caserta und das Ensemble Hemiolia geben dem Oratorium von Francesco Gasparini eine eigene Note und erwecken die von Wut, Rache und Begeisterung geprägten Figuren zum Leben. Die Musik mit ihrer beeindruckenden dramatischen Intensität unterstreicht die Schlussmoral: Gerechtigkeit und Unschuld triumphieren letztendlich immer.

"Dem Oratorium ist als ‚Sinfonia‘ Arcangelo Corellis Concerto grosso Nr. 5, Op. 6 vorangestellt. Die von der Klangqualität der Stimmen und Stilistik her erstklassige Besetzung wird von der französischen Sopranistin Camille Poul, die mit herbem Timbre und wütenden Verzierungen das usurpatorische Monster Atalia verkörpert, angeführt. Der junge lyrische Tenor Bastien Rimondi gestaltet mit ansprechend purem Timbre den um Gerechtigkeit kämpfenden, staatstragenden Milizen Ormano. Die Kontraaltistin Mélodie Ruvio ist die aufmüpfige, sich todesmutig der Königin entgegenstellende Nouricce von Joas und der fulminante italienische Bariton Furio Zanasi fügt mit den Grand Prêtre eine weitere Glanzrolle seinem beeindruckenden Repertoire hinzu. Wer die Opern Monteverdis, Cavallis oder A. Scarlattis schätzt, wird auch an diesem, in der Kompositionsweise grundsätzlich daran anknüpfenden, aber vor allem instrumental und von den Affekten her ein neues Zeitalter ankündigendes Oratorium seine helle Freude haben." (Dr. Ingobert Waltenberger, onlinemerker.com)

Camille Poul, Sopran (Atalia)
Bastien Rimondi, Tenor (Ormano)
Furio Zanasi, Bariton (Sacerdote)
Melodie Ruvio, Mezzosopran (Nurse)
Ensemble Hemiolia
Emmanuel Resche-Caserta, Dirigent

Camille Poul
has repeatedly distinguished herself with her graceful appearances and true dramatic temperament. Trained in Paris at the Conservatoire National Supérieur de Musique, she embarked on a successful professional career. Feeling at home in various repertoires and being historically informed, she mastered in no time various roles : Susanna (Nozze di Figaro), Pamina and First Lady (Die Zauberflöte), Zerlina (Don Giovanni), La Voix Humaine, Amore/Valletto and Drusilla (Incoronazione di Poppea), Belinda (Dido and AEneas), Adelanta (Serse, Cavalli), Maddalena (La Resurezzione, Handel), the title role in lʼEnfant et les Sortilèges, Carolina (Il Matrimonio segreto, Cimarosa), Amour (Orphée et Eurydice) and Yniold (Pelléas et Mélisande).

In recent times she has also explored a more lyric repertoire. She made her debut at the Paris Opera house (Palais Garnier) in the role of Doña Sept-Epées in theworld premiere of Le soulier de Satin by M.A. Dalbavie and was invited for the role of Elle in Point dʼOrgue by Thierry Escaich (2022) and the title-role in Shirine by the same conductor.

Alphise (Les Boréades, Rameau) at the International Hokutopia in Tokyo, Drusilla at the Royal Opera House of Versailles and the Beaune Festival and Amore/Valletto directed by Ted Huffman at the Opera House of Rennes. Further on she will sing Céphise (Alceste, Lully) at the Théâtre des Champs Elysées and subsequently at the Theater an der Wien and the Royal Opera House of Versailles. A theater she will also appear in the title role of Atalia (Gasparini) a production that will be revived at the Palazzo Altemps in Rome.

Since childhood, first as a member of the children choir of Seine Maritime - which made her discover and love opera – and eventually after having graduated from the Paris Conservatoire, Camille Poul performed under the baton of renowned conductors such as S. Deneve, K. Yamada, G. Grazioli, F. Capuano, D. Reiland, A. De Marchi, E. Haim, W. Christie, C. Rousset, H. Niquet, V. Dumestre, R. Jacobs, A. Kossenko, O. Dantone... And worked with directors as David Lescot, Jean Francois Sivadier, Stanislas Nordey, Olivier Py, Ted Huffman, Benjamin Lazar, Jean-Yves Ruf, Christophe Gayral, Shirley and Dino, to name just a few.

Camille Poul has meanwhile be invited by main Paris theaters and concert halls : Opéra de Paris, Théâtre des Champs-Élysées, Opéra Comique, Philharmonie de Paris and Bouffes du Nord. Productions have taken her to several opera houses across France : Lille, Dijon, Caen, Limoges, Aix-en-Provence, Rennes, Rouen, Vichy, Metz …) but also to the Grand Théâtre in Luxembourg, both the Vienna Konzerthaus and Musikverein, Liederhalle Stuttgart, Vredenburg Utrecht, Concertgebouw Amsterdam, Rainier III auditorium in Monaco and at the Philharmonie of Liège and the Concertgebouw of Bruges.

Bastien Rimondi
Alongside his piano studies at the Narbonne Conservatory, Bastien Rimondi attended a master's program as a child. At the age of fifteen, he met Michel Wolkowitsky, with whom he perfected his vocal technique and art of singing at the Atelier lyrique de l'Abbaye de Sylvanès.

After three years of study at the Conservatoire à rayonnement régional de Toulouse in Jacques Schwarz's class, he entered Frédéric Gindraux's Conservatoire national supérieur de musique de Paris in 2017, where he obtained his master's degree with honors in 2021. He will join the Académie Jaroussky's Tchaïkovsky class for the 2021-2022 season. In a variety of repertoires ranging from Baroque to contemporary, Bastien Rimondi has taken on roles such as Ferrando (Così fan tutte), Count Almaviva (The Barber of Seville), the Teapot, Arithmetic and Reinette (L'Enfant et les Sortilèges), Monsieur de Crotignac (Le Peintre parisien), Dorvil (L'Échelle de soie), the Doctor (La Chute de la maison Usher), the Evangelist (Passion selon saint Matthieu), the Innocent (Boris Godounov) and Piquillo (La Périchole).

He recently appeared as Charles de Noailles (Ressusciter la rose, created by Raphaël Lucas) to celebrate the centenary of the Villa Noailles, and as the Evangelist (Passion selon saint Jean) with Les Arts Florissants on tour in Asia. This season, he performs in recital at Seville's Teatro de la Maestranza, among other venues. Since 2015, he has formed the Florestan duo with pianist Timothée Hudrisier. They perform at numerous concerts and festivals in France, and are winners of the Gordes International Melody Competition and the Toulouse International French Melody Competition (first prize).

Furio Zanasi
made his career dedicating himself to Early Music, with a repertoire spanning from the madrigal to cantatas, from oratorio to Baroque opera.

He has collaborated with many ensembles and participated in the most prestigious festivals in Italy (Settembre Musica in Torino; Festival Roma Europa, S. Maurizio in Milan, Festival Monteverdi Cremona, Accademia di S. Cecilia in Rome, Accademia Chigiana in Siena, Accademia Filarmonica in Rome), as well as abroad (Utrecht, Beaune, Bruges, Stuttgart, Versailles, Arsenal of Metz, Prague, Wiener Konzerthaus, Folle Journée Nantes, Innsbruck, Salzburg Festivals, Sevilla, Quinzena of San Sebastian, Fundatiao Gulbenkian, Lufthansa Festival in London, Opéra Garnier Paris, Amsterdam Concertgebouw, Carnegie Hall, Ambronay, Berkeley, Khioi Hall Tokyo).

Furio Zanasi has sung under the baton of René Jacobs, Jordi Savall, Alan Curtis, Gabriel Garrido, Maurizio Pollini, Ivor Bolton, Reinhard Goebel, Rinaldo Alessandrini, Alessandro De Marchi, Ottavio Dantone, Andrea Marcon, Philippe Herrewege, Thomas Hengelbrock, Riccardo Chailly.

After having debuted in the role of Marcello in La Bohème at the Battistini competition, he appeared in theatres such as: Opera of Rome, Bellini of Catania, Ponchielli in Cremona, Comunale of Ferrara, Alighieri in Ravenna, Massimo of Palermo, Dresdner Semper Oper, Liceu in Barcelona, Zarzuela in Madrid, Theater Basel, La Fenice in Venice, Teatro Regio Torino, Teatro San Carlo of Naples, Staatsoper Muenchen, Festspielhaus Baden-Baden, Opera of Lyon, Opera of Bordeaux, La Monnaie in Bruxelles, Lincoln Center, Teatro Colon.

Furio Zanasi has also recorded for the main European Radios and recorded more than 60 CDs for different labels such as Arts, Bongiovanni, Accord, Naxos, Chandos, K617, Opus 111, Virgin, Aliavox, Zig Zag, Naïve and Harmonia Mundi.

Recent Seasons have seen Furio Zanasi in the title role of Monteverdi’s L’Orfeo in tournée with Rinaldo Alessandrini/Concerto Italiano at Valladolid, Las Palmas, Bilbao, Valencia, Siena, Beaune, with recording for Naive, with Jordi Savall in Bremen, Milan and Spain as well as with Academia Montis Regalis led by Alessandro De Marchi in Turin and again in Oslo, Den Norske Opera in a new production under Rinaldo Alessandrini.

He has sung Haydn’s L’Isola disabitata at Innsbrucker Festwochen with Alessandro De Marchi, in Milan Teatro alla Scala L’Orfeo with Rinaldo Alessandrini, with whom he also recorded for Naïve Vivaldi’s Armida/Califfo Re d’Egitto with concerts in Paris Salle Pleyel and Theater an der Wien.

Among his latest engagements: Ulisse in Il ritorno d’Ulisse in Patria at the Vlaamse Opera in Antwerpen with Federico Maria Sardelli, at Teatro alla Scala in Milan with Rinaldo Alessandrini and Robert Wilson and he will sing again the role at Den Norske Opera in Oslo with Alessandro De Marchi.

Melodie Ruvio
fter 10 years as a recorder player, and having graduated with a degree in Spanish, Mélodie Ruvio returned to the CRR in Paris as part of the JeuneChoeur de Paris (formed by Laurence Equilbey), where she obtained her DEM singing diploma.

She made an immediate impact in the title-role of La Folie in Le Carnaval et la Folie by Destouches at the Ambronay Academy, conducted by Hervé Niquet, with performances at the Opéra Comique in Paris, and the Capitole in Toulouse, where the critics praised her warm, sensual voice and her elegant musicality. This debut opened many doors for her and she soon went on to sing the Handelian roles of Cornelia in Giulio Cesare and Disinganno in Il Trionfo del Tempo e del Disinganno, 3rd Lady in Mozart’s Die Zauberflöte, Fedra and Venus in Cavalli’s Egisto, Venus in Monteverdi’s Il Ballo delle ingrate, andMastrilla and Ninetta in Offenbach’s La Périchole, working with conductors such as Marc Minkowski, David Reiland, Roberto Fores Veses, Alexis Kossenko, Vincent Dumestre, Joël Suhubiette and Facundo Agudin.

Mélodie’s voice is also particularly suited to sacred concert repertoire and oratorio, and she is regularly invited to sing a variety of works by Bach, Vivaldi, Scarlatti and Charpentier through to Mozart and Mendelssohn, with conductors such as William Christie, Paul Agnew, Françoise Lasserre, Rinaldo Alessandrini, Jérôme Correas, David Greilsammer, Sofi Jeannin, Michael Radulescu, Julien Laloux, Sylvain Sartre and Margaux Blanchard, at prestigious Festivals including Ambronay, La Chaise-Dieu, Sablé, Bremen Musikfest, Misteria Paschalia and Actus Humanus.

She recently sang Pergolesi Stabat Mater at the Opéra de Montpellier (standing in for the indisposed Nathalie Stutzmann), and 3rd Lady Die Zauberflöte with Hervé Niquet at the Opéra d’Avignon, as well as a concert of Gesualdo madrigals in a solo voice concert with Paul Agnew and Les Arts Florissants, with whom she enjoys working regularly.

Amongst her forthcoming projects, she will sing with the Jupiter Ensemble and Thomas Dunford on Radio France, as well as appearing as soloist in the Mozart Requiem in Trondheim with Paul Agnew, and 3rd Rheinmaiden in Michael Jarrel’s Siegfried,nocturne for Angers/Nantes Opéra.

Booklet für Gasparini: Atalia