Vallotti: O Lingua Benedicta & Mottetti Antoniani Orchestra Barocca di Cremona & Giovanni Battista Columbro

• Francesco Antonio Vallotti (1697 - 1780): O Lingua Benedicta:
• 1 Vallotti: O Lingua Benedicta 05:30
• Qui tollis:
• 2 Vallotti: Qui tollis 05:17
• Et misericordia:
• 3 Vallotti: Et misericordia 03:59
• Gloria Patri:
• 4 Vallotti: Gloria Patri 04:02
• O Lingua Benedicta:
• 5 Vallotti: O Lingua Benedicta 04:46
• Quoniam tu solus:
• 6 Vallotti: Quoniam tu solus 05:09
• O lingua Benedicta:
• 7 Vallotti: O lingua Benedicta 05:06
• In manus tuas Domine:
• 8 Vallotti: In manus tuas Domine 06:20
• Tecum principium:
• 9 Vallotti: Tecum principium 05:46
• Gloria Patri:
• 10 Vallotti: Gloria Patri 06:26
• Qui tollis:
• 11 Vallotti: Qui tollis 04:26
• Qui sicut Dominus:
• 12 Vallotti: Qui sicut Dominus 05:52
• O lingua Benedicta:
• 13 Vallotti: O lingua Benedicta 04:44
• Si quaeris miracula:
• 14 Vallotti: Si quaeris miracula 03:15
• Total Runtime 01:10:38

Info zu Vallotti: O Lingua Benedicta & Mottetti Antoniani

Der Name von Pater Vallotti, einem Franziskaner-Konventualen, geschätzten Musiker und wertvollen Lehrer, ist noch heute vor allem für seine spekulativen Werke bekannt. Bonifazio Asioli bezeichnete ihn als „den größten der italienischen Harmonisten“, und seine Berufung an den Berliner Hof bestätigt, dass er nicht nur in seiner Heimat geschätzt wurde. Sein harmonisches Wissen und seine ungewöhnliche kompositorische Tugend haben uns Seiten von seltener Eleganz beschert, in denen der liturgische und sakrale Aspekt in jedem Akkord herausdestilliert ist.

Marcella Di Garbo, Sopran
Giulia Maria Taccagni, Mezzosopran
Alessandro Vianelli, Tenor
Davide Rocca, Bass
Beatrice Palumbo, Sopran
Eleonora Marenzoni, Klavier
Orchester Barocca di Cremona
Giovanni Battista Columbro,Dirigent

Marcella Di Garbo
has an impressive and diverse musical career that spans various countries and includes both opera and concert performances.

Marcella began her vocal studies under the guidance of Maestro Davide Rocca in Milan, taking her initial steps in her singing career. She continued her education and graduated in singing from the Conservatorio Paganini of Genova in August 2016. In July 2018, she had the privilege of performing the roles of Pamina in Mozart's "Die Zauberflöte" and Rosalinde in Strauss's "Die Fledermaus" at the Lyric Opera Studio of Weimar under the direction of Maestro Damon Nestor Ploumis.

In September 2017, Marcella was awarded a place at the prestigious Royal College of Music in London, where she pursued a Master of Performance degree, supported by a full scholarship. She successfully completed her studies and graduated in July 2019. During her time at the Royal College of Music, she participated in various projects, including collaborating with screen composers and artists from the Royal Academy of Arts.

Marcella's dedication to her craft led her to engage in further training, including attending masterclasses with the critically acclaimed mezzo-soprano Sonia Ganassi and delving into baroque repertoire through classes with soprano Marinella Pennicchi.

Her career highlights include notable debuts in roles such as Musetta in Puccini's "La Bohème" at the Auditorium Santa Barnaba in Brescia, Italy, covering the role of Nedda in Leoncavallo's "I Pagliacci" at the Varna State Theatre, and performing as the soloist in Handel's "Messiah" conducted by Martinho Lutero Galati at the Basilica di Sant'Eufemia in Milan, Italy. She also took on the role of soloist in Orff's "Carmina Burana" conducted by Claudio di Meo in St. Alban's, UK, and performed Schoenberg's "Pierrot Lunaire" with "Ensemble Matters." Marcella has continued to build her repertoire with roles such as Valancienne in "The Merry Widow" at Teatro Santa Giulia in Brescia. Her recent commitments include portraying the Enchanted Plant in "La liberazione di Ruggero dall'isola di Alcina" by F. Caccini at the Brighton Early Music Festival in July 2021 and singing the solo for the CD recording of Vespri alla Beata Vergine by Don Francesco Antonio Urio, set to be released in September 2021 by URANIA records Classical Label. She also took on the role of Countess in Mozart's "The Marriage of Figaro" in October 2021 and made her debut as Alice Ford in Verdi's "Falstaff," along with the role of Gilda in Verdi's "Rigoletto" at the Teatro Martinetti in Italy.

Marcella's career continued to flourish with her participation in the Westminster Opera Company production of "The Marriage of Figaro" in the summer of 2023, where she portrayed the role of Marcellina and debuted in France at the Chateau de Panloy. In September 2022, she was awarded a scholarship at St. Luke's Church Shepherd's Bush, and in February 2023, she joined the Bellini Opera House in Catania, Sicily, as an extra chorus member. Beyond her performing career, Marcella is a dedicated teacher, specializing in working with children and beginner singers. She also contributes her expertise to the Nucleo Project as Musicianship Lead. In April 2019, she founded Opera POT, an annual workshop for young singers culminating in opera scene performances (more information can be found on the Opera POT page). In April 2023, she took on the role of leading the Junior Choir at St George's Church Holland Park.

In addition to her musical pursuits, Marcella holds an undergraduate degree in Psychology from the Catholic University of Milan. Her multifaceted talents and passion for music continue to shine through in her performances, teaching, and dedication to the musical arts.

The Cremona Baroque Orchestra
is an early music ensemble formed in 2002 by scholars and performers already active in other national and international ensembles and specialized in the pre-Romantic musical repertoire. The flexibility of the vocal and instrumental staff allows the group to offer a wide range of the musical life of the XVII and XVIII centuries. In its the various combinations, proposed time after time, the Ensemble easily deal with chamber, symphonic, oratorial and operatic pages. The Cremona Baroque Orchestra is an early music ensemble formed in 2002 by scholars and performers already active in other national and international ensembles and specialized in the pre-Romantic musical repertoire. The flexibility of the vocal and instrumental staff allows the group to offer a wide range of the musical life of the XVII and XVIII centuries. In its the various combinations, proposed time after time, the Ensemble easily deal with chamber, symphonic, oratorial and operatic pages. All the members have graduated in baroque practice in Italian and foreign Academies and Conservatories, and perform with the best international Baroques orchestras, playing with original instruments and according to the dictates of the historical executive practice. In Italy, the soloists of the orchestra have performed at the International Festival of Valle d’Itria, Baroque Festival of Brindisi, in all the editions of the Lodoviciano Festival in Viadana (MN), events of the Teatro Olimpico in Vicenza, Festival of Musica Antica di Trento, Monteverdi Festival in Cremona, celebrations of the Basilica of San Carlo in Milan, Scuola Grande di San Giovanni Evangelista in Venice and at the Vatican Concerts for the Great Jubilee in the Basilica of S. Maria degli Angeli in Rome with the unpublished sacred oratory by Alessandro Scarlatti: Davidis pugna et Victoria. The philological researches, a prerequisite in all their performances, and the latest concerts of Andrea Luchesi’s music (Kapellmeister in Bonn and tutor of L. van Beethoven) in Venice, Verona and Milan had great success in public and critics, and they were followed up by two telegrams of sincere admiration from the President of the Republic for the work of cultural rediscovery of Italian heritage, wrongly forgotten. The members of the ensemble have also recorded for international Labels such as Harmonia Mundi, Opus 111, Phonè Stradivarius, Velut Luna, Tactus and Agorà.4

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