Please register here if you want to download anything!

Rinaldo Daniels

Christopher Hogwood, The Academy of Ancient Music, Bernarda Fink, Cecilia Bartoli, David Daniels - Handel: Rinaldo (2000)

Christopher Hogwood, The Academy of Ancient Music, Bernarda Fink, Cecilia Bartoli, David Daniels - Handel: Rinaldo (2000)
EAC | FLAC | Image (Cue & Log) ~ 770 Mb | Total time: 76:52+51:38+45:09 | Scans included
Classical | Label: DECCA | # 467 088 2 | Recorded: 1999

On February 24 1711, the curtain at the Haymarket theater went up for 'Rinaldo,' the first opera George Frideric Handel produced for London. It had a libretto by Giacomo Rossi, based on a somewhat mangled outline of Tasso's epic poem of the Crusades, 'Gerusalemme Liberata,' which had been prepared by impresario Aaron Hill with the aim of allowing for as many special machinery effects as possible. Handel clearly wanted to impress London, for his sparkling music contained liberal borrowings from some of his best recent scores. While many changes and cuts were made up to the time of Handel1s final revision in 1731, this recording attempts as much as possible to return to the version that would have been heard in the first London production. Though there are no featured castrati, the cast is strong and youthfully vigorous, with David Daniels in the title role and the radiant Cecilia Bartoli as his betrothed, Almirena. Christopher Hogwood leads an altogether bracing performance, drawing beautifully atmospheric sounds from the Academy of Ancient Music.
David Daniels, Roger Norrington, Orchestra of the Age of Enlightenment - Handel: Operatic Arias (1998)

David Daniels, Roger Norrington, Orchestra of the Age of Enlightenment - Handel: Operatic Arias (1998)
EAC | FLAC | Image (Cue & Log) ~ 317 Mb | Total time: 69:26 | Scans included
Classical | Label: Virgin | # 45326 2 | Recorded: 1998

The ever-increasing popularity of Handel and his contemporaries, and their employment of alto castratos, has encouraged the development of countertenors capable of similar vocal feats to the original interpreters of the heroic roles in these works. Among these the distinguished American, David Daniels, who burst on to the scene here a couple of years ago at Glyndebourne in Theodora, is a leading contender. If I would place Scholl in the category of Deller and Esswood, with their luminous, soft-grained tone, Daniels is closer to the more earthy sound of Bowman, his voice — like Bowman's — astonishingly large in volume.

Handel - Operatic Arias (David Daniels) [1998]  Music

Posted by Sowulo at May 4, 2016
Handel - Operatic Arias (David Daniels) [1998]

Handel - Operatic Arias (David Daniels) [1998]
EAC Rip | FLAC, IMG+CUE, LOG | Covers | 1cd, 314.58 MB
Classical | Virgin Classic | 7243 5 45326 2 7

The ever-increasing popularity of Handel and his contemporaries, and their employment of alto castratos, has encouraged the development of countertenors capable of similar vocal feats to the original interpreters of the heroic roles in these works. Among these the distinguished American, David Daniels, who burst on to the scene here a couple of years ago at Glyndebourne in Theodora, is a leading contender. If I would place Scholl in the category of Deller and Esswood, with their luminous, soft-grained tone, Daniels is closer to the more earthy sound of Bowman, his voice — like Bowman's — astonishingly large in volume.
– Gramophone [11/1998]
Rinaldo Alessandrini - Alessandro Scarlatti: Toccate per Cembalo (2010) [Re-Up]

Rinaldo Alessandrini - Alessandro Scarlatti: Toccate per Cembalo (2010)
EAC | FLAC | Image (Cue&Log) ~ 498 Mb | Mp3 (CBR320) ~ 168 Mb | Scans ~ 190 Mb
Genre: Classical | Label: Arcana | # A323 | Time: 01:13:23

The music for harpsichord has been considered an inexplicable chance occurrence in Alessandro Scarlatti's output, and in assessing it, we should avoid unfair and unappropriate comparisons with the work of his exceptionally gifted son. Alessandro's cultural background was quite different and very precise in the way it affected keyboard music: Frescobaldi was the first in a series of figures who are known to a greater or lesser extent today and whose teaching came down to Scarlatti in a solid stylistic tradition. Pasquini, his extremely diligent and prolific contemporary, the last of the line, was strongly motivated by his patron, the Prince Borghese in writing harpsichord music. Alessandro also wished to try his hand in this area. 250th Anniversary Release. On the occasion of the 350th anniversary of Alessandro Scarlatti's birth (Palermo, 2 May 1660), Arcana is re-releasing this anthology of toccatas and fugues by the elder Scarlatti, father of the better-known Domenico.
Concerto Italiano, Rinaldo Alessandrini - Antonio Maria Bononcini: Messa; Stabat Mater (2012)

Antonio Maria Bononcini: Messa; Stabat Mater (2012)
Concerto Italiano, conducted by Rinaldo Alessandrini

EAC | FLAC | Image (Cue&Log) ~ 372 Mb | Mp3 (CBR320) ~ 186 Mb | Scans included
Genre: Classical, Choral | Label: Naive | # OP 30537 | Time: 01:19:56

This disc is a tour de force, a world premiere recording of stunning music splendidly performed. The unjustly obscure Antonio Maria Bononcini was appointed late in life to be maestro di cappella in Modena, a post which allowed him to pour his store of invention into two grand sacred works, a Mass and a Stabat Mater. Conductor Rinaldo Alessandrini engages deeply with the composer’s imagination, opening up his dense counterpoint and delicately binding together his vocal and obbligato lines. The musical rhetoric of the Concerto Italiano is spellbinding, particularly when band and singers heighten gestures to surge powerfully towards a passage’s final cadence. However heated their delivery becomes – and the Stabat Mater does sizzle – the artists never rush. This is particularly crucial for bringing out Bononcini’s modulations and textures, which, because they shift rapidly, need space to breathe.
Rinaldo Alessandrini, Concerto Italiano - Frescobaldi: Arie Misicali (1994)

Rinaldo Alessandrini, Concerto Italiano - Frescobaldi: Arie Misicali (1994)
EAC | FLAC | Image (Cue & Log) ~ 518 Mb | Total time: 53:12+46:08 | Scans included
Classical | Label: Opus 111 | # OPS 30-105/106 | Recorded: 1993

Girolamo Frescobaldi brought his two volumes of Arie Musicali to publication in Florence in 1630 and distanced himself from Caccini’s purely narrative madrigals by so doing. Frescobaldi brought together secular sonnets, sacred madrigals, recitatives, arias and ensembles in every possible style; it is this immense variety above all else that makes a recording of the complete Arie Musicali so exciting and challenging.
Monteverdi - Libri de’ madrigali (Rinaldo Alessandrini) [1993, 1994, 1996-1998]

Monteverdi - Libri de’ madrigali (Rinaldo Alessandrini) [1993, 1994, 1996-1998]
EAC Rip | FLAC, IMG+CUE, LOG | Scans | 1.23 GB
Classical | Label: Opus 111 | Catalog Number: 30348

Monteverdi was only 23 when he published his Second Book of Madrigals in 1590, but he was already a master of the form, and these contrapuntally lively pieces, with their supple and astute text setting, are crowning works of late Renaissance secular polyphony. With this release of the Second Book, Rinaldo Alessandrini moves closer to his goal of recording all of Monteverdi's eight Books of Madrigals, performed by Concerto Italiano, the ensemble he founded in 1984. The series has received much-deserved critical acclaim; three of the releases won Gramophone Awards, and this 1994 recording won a Diapason d'Or. Concerto Italiano is a group whose roster is flexible, based on the requirements of the music performed, and here seven unaccompanied singers configure themselves in a variety of combinations in the five-part madrigals.
Rinaldo Alessandrini & Concerto Italiano - Monteverdi: Night. Stories of Lovers and Warriors (2017)

Rinaldo Alessandrini & Concerto Italiano - Monteverdi: Night. Stories of Lovers and Warriors
Classical | WEB FLAC (tracks) & d. booklet | 68:22 min | 308 MB
Label: Naïve | Tracks: 18 | Rls.date: 2017

''Night. The time when the absence of light reveals hidden and sometimes mysterious aspects of reality. The time when, far from the noise of day, feelings and passions loom larger until they draw the human soul into a myriad of different and conflicting expressions. The privileged time for love, the painful time of tears or regrets…Monteverdi, who always possessed a keen instinct for the theatrical nature of life, was by no means insensible to the myriad meanings of night and the countless possibilities of evocation and suggestion it offers.
Rinaldo Alessandrini, Concerto Italiano - Monteverdi: Libri de’ madrigali  [5CDs] (2001)

Rinaldo Alessandrini, Concerto Italiano - Monteverdi: Libri de’ madrigali (2001)
EAC | FLAC | Image (Cue & Log) ~ 1.31 Gb | Total time: 5h 29 m | Scans included
Classical | Label: Opus 111 | # OP 30348 | Recorded: 1993, 1994, 1996, 1997, 1998

Monteverdi was only 23 when he published his Second Book of Madrigals in 1590, but he was already a master of the form, and these contrapuntally lively pieces, with their supple and astute text setting, are crowning works of late Renaissance secular polyphony. With this release of the Second Book, Rinaldo Alessandrini moves closer to his goal of recording all of Monteverdi's eight Books of Madrigals, performed by Concerto Italiano, the ensemble he founded in 1984. The series has received much-deserved critical acclaim; three of the releases won Gramophone Awards, and this 1994 recording won a Diapason d'Or. Concerto Italiano is a group whose roster is flexible, based on the requirements of the music performed, and here seven unaccompanied singers configure themselves in a variety of combinations in the five-part madrigals.
Rinaldo Alessandrini, Concerto Italiano - Handel: Il Trionfo del Tempo e del Disinganno (2007)

Rinaldo Alessandrini, Concerto Italiano - Handel: Il Trionfo del Tempo e del Disinganno (2007)
EAC | FLAC | Image (Cue & Log) ~ 659 Mb | Total time: 133:03 | Scans included
Classical | Label: Naïve | # OP 30440 | Recorded: 2001

Handel’s Italian oratorio seems to offer a great deal of fascination to continental-based ensembles presumably because the Italian texts make the works easier to perform well with non-Anglophone singers. But there are significant differences, between this work and the later oratorios. The later works use choruses and have quite strong narrative and moral elements. The English Oratorios were written for mainly English-trained singers whose style was expressive rather than virtuoso; in them the older Handel aimed for a new style.