Hasse: Siroe - Re Di Persia, Dresden version (1763) Max Emanuel Cencic
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- Johann Adolph Hasse (1699-1783)
- 1Sinfonia Part 1 - Vivace e staccato02:02
- 2Sinfonia Part 2 - Un poco lento02:12
- 3Sinfonia Part 301:52
- Atto primo · Act One · Acte un · Erster Akt
- 4Figli, di voi non meno che del regno son padre03:57
- 5Se il mio paterno amore Cosroe04:42
- 6E puoi senza arrossirti fissar, Medarse?...Parti; non l'irritar; lasciami seco...Bell'Emira adorata...A consolar, Laodice, un cor02:14
- 7D'ogni amator la fede04:54
- 8Siroe, non parli?...Di te, germana, in traccia sollecito ne vengo01:44
- 9O placido il mare lusinghi la sponda05:01
- 10Non tradirò per lei l'amicizia e il dover00:49
- 11Contente non siete d'un povero core05:50
- 12Dall'insidie d'Emira si tolga il genitor...Che da un superbo figlio prenda leggi il mio cor..Un foglio!...Dunque perchà© non scopri l'insidiator?03:54
- 13La sorte mia tiranna06:14
- 14Olà , s'osservi il prence...Avresti mai creduto in Siroe un traditor?...Senza mistero o Prence cosà¬ non parla Idaspe...Gran cose io tento01:47
- 15Fra l'orror della tempesta05:47
- Atto secondo · Act Two · Acte deux · Zweiter Akt
- 16Alfin, Laodice, sei vendicata01:37
- 17Mi lagnerò tacendo07:45
- 18Tutto si soffra in pace...Che fai, superbo?01:52
- 19Mi credi infedele03:39
- 20Pensoso è il re...Signore - (Oh dei!)01:22
- 21Sgombra dall'anima tutto il timor04:20
- 22Non è picciola sorte01:29
- 23Tu decidi del mio fato...Più dubitar non posso, è Siroe l'infedel08:50
- 24Mi basta di morir noto a me stesso00:27
- 25Se pugnar non sai col fato07:29
- 26Veglia all'ingresso...Eccomi a' cenni tuoi03:13
- 27Tu di pietà mi spogli03:10
- 28Che risolver degg'io?01:16
- 29Fra dubbi affetti miei04:58
- 30A costei che dirò?02:35
- 31Non vi piacque, ingiusti dei06:22
- Atto terzo · Act Three · Acte trois · Dritter Akt
- 32No no; voglio che mora...Mio re, che fai?01:49
- 33Se il caro figlio vede in periglio03:23
- 34Rendi, o signore...Arasse! Oh cieli!03:49
- 35Che furia, che mostro03:04
- 36Ah, che ristoro invano io cerco al mio dolor00:46
- 37Gelido in ogni vena scorrer mi sento il sangue08:00
- 38Che fai, d'un re tiranno più barbaro ministro?00:56
- 39L'alma a goder prepara05:04
- 40Tutto è in tumulto00:43
- 41Son stanco, ingiusti Numi di soffrir01:25
- 42Vo disperato a morte03:36
- 43Ad insultarmi ancora qui vien Medarse?...Numi! Ognun m'abbandona...Siroe, già so qual sorte sovrasti a un traditor01:50
- 44Se l'amor tuo mi rendi03:40
- 45Ah con mio danno imparo che la più certa guida00:49
- 46Torrente cresciuto per torbida piena04:13
- 47Vinto ancor non son io...Padre - Signor01:33
- 48Di tuo amor, mio cor è indegno06:21
- 49Ecco, Persia, il tuo re00:49
- 50I suoi nemici affetti01:14
Info for Hasse: Siroe - Re Di Persia, Dresden version (1763)
The world-premiere recording of Siroe re di Persia by Johann Adolf Hasse, whose music encapsulates the refined aristocratic cultural tastes of the European Ancien Régime. Offering true musical fireworks and delights, Siroe is led by Max Cencic in the title role with the vital orchestra of Armonia Atenea and their high-powered conductor, George Petrou: the same vibrant partnership which saw their first album on Decca, Handel’s Alessandro, win a clutch of top awards. Renowned for his gifts as a melodist, in Siroe Hasse offers a feast of rare vocal delights in the telling of a vivid story of passion, jealousy and intrigue.
Cencic is supported by a truly stunning cast, with Decca’s award-winning Julia Lezhneva, countertenor Franco Fagioli (whose own debut album on DG will come soon), Juan Sancho, Mary-Ellen Nesi, and Lauren Snouffer.
Remarkably famous during his lifetime, the composer Hasse was acclaimed by his contemporaries as one of the most important artists of the 18th Century: the greatest singers of the time clamoured to perform in his operas.
Max Cencic & Parnassus Arts’ new stage production of Siroe premiered in June 2014 at Athens’ Megaron to enthusiastic acclaim from audience and critics alike, and will tour to Versailles and Vienna.
Max Emanuel Cencic (Siroe)
Franco Fagioli (Medarse)
Julia Lezhneva (Laodice)
Juan Sancho (Cosroe)
Mary-Ellen Nesi (Emira)
Laureen Snouffer (Arasse)
George Petrou, Dirigent
Max Emanuel Cencic
A combination of beautiful, pure tone and passionate delivery has made countertenor Max Emanuel Cencic one of today’s most sought after singers. In 2008, the German magazine Opernwelt said “Mr Cencic is blessed with the finest countertenor voice of our day.” Since then he has gone from strength to strength through many outstanding performances.
Born in 1976 in Zagreb, Cencic was perhaps destined to become a great countertenor, having first come to public attention aged six singing the Queen of the Night’s aria from the Magic Flute. He went on to sing with the Vienna Boys Choir, touring widely and launching his solo career in 1992 as a male soprano, followed in 2001 as a countertenor.
Cencic’s interpretation of Nerone in Monteverdi’s L’incoronazione di Poppea in Basel was an early milestone in his career, prompting Opernwelt to name him Best New Singer of the Year 2003. Other notable roles included Perseo in Vivaldi’s long-forgotten serenata Andromeda Liberata (recorded live by Deutsche Grammophon), the title role in Handel’s rarely performed opera Faramondo, and the Herald in the world premiere of Aribert Reimann’s Medea at the Vienna State Opera in 2010.
His iconic status among present-day countertenors was reinforced by the sensation he created in the title role of Vivaldi’s opera Farnace. Performed during the 2011-12 season in Paris, Lausanne, Amsterdam and Versailles, Cencic and the production achieved even wider success through widespread transmission on mezzoTV.
The crowning glory of Cencic’s 2012-13 season was the production, tour and recording of a newly-rediscovered opera, Leonardo Vinci’s Artaserse. The whole project was his idea, from the choice of work to the choice of cast. Originally premiered in Rome at a time when women were forbidden from performing on the public stage ‒ in 1730 ‒ this re-creation also featured an all-male cast, including five counter-tenors. Cencic sang the role of Mandane, and was rewarded for both his singing and the production with rave reviews. At the Opéra national de Lorraine, the Theater an der Wien, the Cologne Opera, the Opéra de Lausanne and the Théâtre des Champs-Élysées, every performance received a standing ovation. The production will be seen again between March and May 2014 in Cologne, Versailles and Amsterdam.
In November 2013 Cencic made his debut at the Frankfurt Opera in a production of Gluck’s Ezio. Solo appearances in the near future include performances of the programme “Bach meets Pergolesi’s Stabat Mater”, concerts of opera arias by Mozart and Rossini, and Orff’s Carmina Burana. His 2014 schedule also includes appearances in Tamerlano in Versailles, Munich, Cologne, Vienna and Krakow.
Cencic’s Decca recording of Handel’s Alessandro, released in September 2012, has garnered six major awards, including Opera CD of the Year for 2013 from operaawards.com, and won rave reviews: “Cencic is imperious hot-bloodedness personified” (BBC Music Magazine), “Max Emanuel Cencic commands the music totally, offering some of the most attractive tone of his distinguished recording career . . . ” (Opera News).
Cencic turns to works by Johann Adolf Hasse, with the 2014 Decca Classics release of Rokoko, a gripping collection of arias accompanied by George Petrou and Armonia Atenea.
Cencic’s extensive CD catalogue has won many awards, including eleven prizes for his Faramondo, four for a recital of Handel arias, and Germany’s prestigious Echo Klassik prize for his Duetti album. He sang the role of Valentiniano in the recording of Gluck’s opera Ezio, which also won an Echo Klassik prize, as did Leonardo Vinci’s Artaserse (all Virgin Classics).
Cencic frequently appears in productions at major opera houses worldwide, including the Vienna State Opera, Bavarian State Opera, Semperoper Dresden, Deutsche Oper Berlin, Teatro Real in Madrid, Barcelona’s Gran Teatre del Liceu, Théâtre des Champs-Elysées in Paris, La Monnaie in Brussels, Geneva’s Grand Théâtre and Teatro Nacional de São Carlos in Lisbon. In concert he has performed in such major venues as New York’s Carnegie Hall, Barbican Centre in London, Amsterdam Concertgebouw, Vienna’s Musikverein, Festspielhaus Baden-Baden, Laeiszhalle Hamburg, Palais Garnier in Paris and Tokyo’s Opera Nomori, and at festivals in Ludwigsburg, Potsdam, Halle (Händel Festspiele), Spoleto (Due Mondi), Ambronay, Eisenstadt and Dubrovnik. He collaborates on a regular basis with conductors William Christie, René Jacobs, Ottavio Dantone, Diego Fasolis, Jean-Christophe Spinosi, George Petrou, Emmanuelle Haïm, Fabio Biondi and Riccardo Muti.
With his singularly beautiful voice, innately musical approach and ability to truly capture audiences, the future is surely looking bright for Max Emanuel Cencic.