What makes a piece of music popular? It may be an irresistible melody, like a Schubert song that is immediately remembered, or the fascinating rhythm of Ravel’s Bolero. Perhaps it is the magnificent orchestral arrangement in some romantic masterpieces or the perfectly balanced simplicity of a Baroque trumpet concerto. In any case, it is likely to be a combination of rhythm, harmony, melody and emotional content plus an inexplicable element that adds its own unique appeal.

The components that make a piece of Baroque music popular today are no doubt different from those that appealed to the audiences of the 18th century. For example, several of Handel’s great operas were opening-night fiascos, and the music of J.S. Bach (perhaps the major composer of the second millennium) today performed to great acclaim, was spurned in his day as being too complicated and old fashioned. On the other hand, the most published piece of music in the 18th century was the Stabat Mater by Pergolesi – a sacred work that, although incredibly beautiful, only enjoys limited success today.  Generally, however, many Baroque compositions have become very popular in our time, due to a remarkable revival of interest in 18th-century music. Perhaps one of the reasons is that this music seems to transmit a serenity and upbeat belief in the future that is both inspiring and comforting at times when our own age seems confused and unsettled.One of the main characteristics of Baroque music is the emphasis placed on virtuosity. Highlighting this was the development of instrumental forms, including the sonata and suite. String instruments, the violin in particular, were greatly favoured as were the wind instruments such as the flute, oboe and trumpet.

In the spirit and range of Baroque music, one must not forget the importance of the opera that, at the time, propelled certain castratos – prima donnas – to great fame. The first castratos came from Spain and were employed at the Sistine Chapel to take soprano parts. Women were not allowed to take part in singing of religious services, therefore the parts were sung by young boys. However, at puberty their voices broke forcing the chapels to continue to employ new boys.

The castrato would keep his soprano voice all his life and therefore provide an ideal   solution to the problem. The castration of young boys gifted with a good voice would mean hope of social improvement for his family. Therefore, from about 1600 the number of castratos aspiring to learn music increased considerably. One of the most famous castratos was Carlo Broschi, better known as Farinelli. It is believed that Farinelli originally performed the works numbered six, seven, eight, ten and fourteen recorded on this CD. Two of the pieces were composed by his brother Riccardo Broschi who was later accused of copying music from works written by Handel and Hasse. Whatever the truth, it is incredibly beautiful music. Although the Baroque period is dominated by the twin giants of Bach and Handel, the group of composers featured on this recording inspired and contributed much to the spirit and style of the time. All helped to illuminate a part of that remarkable musical world we call the Baroque and is abundantly demonstrated here in the sense of occasion and supreme self-confidence that flow from the Unique Baroque Musique selected for this album.

Olga Kondina, lyric coloratura soprano and one of the leading soloists at the Mariinsky Theatre (Kirov Opera) in St Petersburg. Olga Kondina is a laureate of Glinka Singers Competition in Russia, a prize-winner of the International Viotti Competition in Italy, and a laureate and special prize-holder of the International Vinas Competition in Barcelona, Spain. With the Kirov Opera ensemble she has performed as soloist in most theatres in Europe, Japan and the USA. Olga Kondina is an outstanding singer with a voice of exquisite and beautiful timbre, impeccable intonation, irreproachable vocal technique and a fantastic range of sound including a fine breathtaking pianissimo.