Songs of Love, War and Melancholy: Operatic Fantasias by Gallay
£13.25
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Label: Resonus Classics
Cat No: RES10153
Format: CD
Number of Discs: 1
Genre: Chamber
Release Date: 1st May 2015
Contents
Works
Fantaisie brillante sur l’opera ‘Les Martyrs’ de Donizetti, op.49Fantaisie brillante sur un motif de ‘Norma’ de Bellini, op.40
Fantaisie sur l’opera ‘L’Elisir d’amore’ de Donizetti, op.46
Fantaisie sur une cavatine de ‘Belisario’ de Donizetti, op.42
Fantasia sopra un motivo dell’opera ‘Bianca e Fernando’ di Bellini, op.47 no.2
Troisieme Melodie sur une cavatine de ‘La Sonnambula’ de Bellini, op.28
‘Fuis, laisse-moi’ de ‘Roberto Devereux’ de Donizetti
‘L’Appel du Chasseur’ des 'Soirees Italiennes’ de Mercadante
‘Une Larme Furtive’ de ‘L’Elisir d’amore’ de Donizetti
Artists
Anneke Scott (natural horn)Lucy Crowe (soprano)
Steven Devine (piano)
Works
Fantaisie brillante sur l’opera ‘Les Martyrs’ de Donizetti, op.49Fantaisie brillante sur un motif de ‘Norma’ de Bellini, op.40
Fantaisie sur l’opera ‘L’Elisir d’amore’ de Donizetti, op.46
Fantaisie sur une cavatine de ‘Belisario’ de Donizetti, op.42
Fantasia sopra un motivo dell’opera ‘Bianca e Fernando’ di Bellini, op.47 no.2
Troisieme Melodie sur une cavatine de ‘La Sonnambula’ de Bellini, op.28
‘Fuis, laisse-moi’ de ‘Roberto Devereux’ de Donizetti
‘L’Appel du Chasseur’ des 'Soirees Italiennes’ de Mercadante
‘Une Larme Furtive’ de ‘L’Elisir d’amore’ de Donizetti
Artists
Anneke Scott (natural horn)Lucy Crowe (soprano)
Steven Devine (piano)
About
These fascinating and unique works mix incredibly virtuosic music with beautifully lyrical melodies deeply influenced by Gallay’s position as solo horn of the Parisian Théâtre Italien. For this final volume in the series, Scott is joined by the celebrated pianist Steven Devine and renowned soprano Lucy Crowe.
In this recording, Anneke Scott performs on a natural horn (cor solo) by Marcel-Auguste Raoux dating from 1823 (loaned with kind permission by the Bate Collection, University of Oxford), while Stepven Devine plays a grand piano by Érard, from 1851 (loaned with kind permission by the University of Birmingham).
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