Fra l'ombre e gl'orrori Nahuel Di Pierro, Ensemble Diderot, Johannes Pramsohler

• Michelangelo Rossi (1601/1602 - 1656): Erminia sul giordano:
• 1 Rossi: Erminia sul giordano: Sinfonia per introdutione del prologo 01:25
• Claudio Monteverdi (1567 - 1643): L'incoronazione di Poppea, SV 308, Act II Scene 3:
• 2 Monteverdi: L'incoronazione di Poppea, SV 308, Act II Scene 3: Amici, è giunta l'hora (Seneca, Famigliari) 05:05
• Francesco Cavalli (1602 - 1676): Ercole amante, Act V Scene 2:
• 3 Cavalli: Ercole amante, Act V Scene 2: Ma qual pungente arsura (Ercole) 04:28
• Antonio Sartorio (1630 - 1680): La Prosperità di Elio Seiano, Act III Scene 10:
• 4 Sartorio: La Prosperità di Elio Seiano, Act III Scene 10: Selve amiche (Tiberio) 03:43
• Marc'Antonio Ziani (1653 - 1715): Alba Soggiogata da' Romani, Act II Scene 6:
• 5 Ziani: Alba Soggiogata da' Romani, Act II Scene 6: Ritornello con 2 trombe 00:59
• 6 Ziani: Alba Soggiogata da' Romani, Act II Scene 6: La fronte a quei superbi (Metio) 00:37
• 7 Ziani: Alba Soggiogata da' Romani, Act II Scene 6: All'armi, all'armi (Metio) 01:08
• Il duello d'amore e di vendetta:
• 8 Ziani: Il duello d'amore e di vendetta: Sinfonia 02:06
• Antonio Giannettini (1648 - 1721): L'ingresso alla gioventù di Claudio Nerone, Act III Scene 8:
• 9 Giannettini: L'ingresso alla gioventù di Claudio Nerone, Act III Scene 8: Fra l'horror d'ombre terribili (Aspasio) 04:11
• Giovanni Bononcini (1670 - 1747): Il ritorno di Giulio Cesare:
• 10 Bononcini: Il ritorno di Giulio Cesare: Sinfonia 04:47
• 11 Bononcini: Il ritorno di Giulio Cesare: i, torno, o bella (Giulio Cesare) 00:55
• 12 Bononcini: Il ritorno di Giulio Cesare: Occhi belli, occhi possenti (Giulio Cesare) 05:49
• Georg Friedrich Händel (1685 - 1759): Aci, Galatea e Polifemo, HWV 72, Part II:
• 13 Händel: Aci, Galatea e Polifemo, HWV 72, Part II: Fra l'ombre e gl'orrori (Polifemo) 05:01
• Agrippina, HWV 6, Act II Scene 4:
• 14 Händel: Agrippina, HWV 6, Act II Scene 4: Nella Britannia vinta (Claudio) 00:39
• 15 Händel: Agrippina, HWV 6, Act II Scene 4: Cade il mondo (Claudio) 03:49
• Alessandro Scarlatti (1660 - 1725): La caduta de' decemviri:
• 16 Scarlatti: La caduta de' decemviri: Sinfonia 04:48
• La gloria di primavera, Part II:
• 17 Scarlatti: La gloria di primavera, Part II: Trassi dal nulla il tutto (Giove) 01:49
• 18 Scarlatti: La gloria di primavera, Part II: Dell'alba e dell'aurora (Giove) 03:41
• Antonio Vivaldi (1678 - 1741): Tito manlio, RV. 738, Act I Scene 2: Tito manlio, RV. 738, Act I Scene 2:
• 19 Vivaldi: Tito manlio, RV. 738, Act I Scene 2: Se il cor guerriero (Tito Manlio) 03:01
• Orlando, HWV 31, Act II Scene 13:
• 20 Vivaldi: Orlando, HWV 31, Act II Scene 13: Ah sleale, ah spergiura (Orlando) 05:08
• Georg Friedrich Händel: Orlando, HWV 31, Act III Scene 6:
• 21 Händel: Orlando, HWV 31, Act III Scene 6: O voi del mio poter (Zoroastro) 01:10
• 22 Händel: Orlando, HWV 31, Act III Scene 6: Sorge infausta una procella (Zoroastro) 04:38
• Rinaldo, HWV 7a, Act I Scene 3:
• 23 Händel: Rinaldo, HWV 7a, Act I Scene 3: Sibillar gli angui d'aletto (Argante) 04:53
• Total Runtime 01:13:50

Info zu Fra l'ombre e gl'orrori

Väter, Götter, Philosophen, Kaiser, Zauberer ... Die Bassstimme wird auf der Opernbühne meist eingesetzt, um Adel und Autorität zu vermitteln. Obwohl sie oft den Ruhe- und Angelpunkt einer gesamten Oper bildet und ihre Tiefe, Kraft und Sanftheit bereits im Barock regelmäßig hervorgehoben wurden, stehen Basssänger meist nicht im Zentrum der Aufmerksamkeit.

In diesem für Nahuel Di Pierro maßgeschneiderten Rezital tritt die Bassstimme, begleitet vom Ensemble Diderot, ins Rampenlicht. Auf einer Reise durch 100 Jahre Operngeschichte zeigt das Programm die Bandbreite und Brillanz der Kompositionen für diese Stimme. Mit seinem spektakulären Stimmumfang von zweieinhalb Oktaven interpretiert Nahuel di Pierro die großen Arien von Senecas Tod bis zum Polyphemus aus Händels Aci, Galatea e Polifemo mit außergewöhnlicher Sensibilität und Meisterschaft. Und es wäre nicht Johannes Pramsohler und sein Ensemble Diderot, wenn das Programm nicht einige spektakuläre Neuentdeckungen enthalten würde.

Nahuel di Pierro, Bass
Ensemble Diderot
Johannes Pramsohler, Leitung

Nahuel Di Pierro
was born in Buenos Aires. He studied at the vocal department of the Artistic Institute of the Teatro Colón. He is a former member of the Paris Opera Studio and the ‘Young Singer Project’ from the Salzburg Festival. His operatic repertoire mainly ranges from baroque music to romantic belcanto. He regularly sings concerts and recitals and takes part in many recordings.In the baroque field, he sang Seneca from L’Incoronazione di Poppea, The Cold Genius from King Arthur and Créon from Médée by Charpentier (Zürich), Augure and Plutone from L’Orfeo by Rossi (Versailles), Ismenor and Teucer from Dardanus by Rameau (Bordeaux).

An accomplished Mozartian, he started with Masetto (Buenos Aires, Paris Opera, Théâtre des Champs-Elysées, London, Valencia), then Leporello (Aix-en-Provence, Nancy, Luxemburg) and finally the title-role: Don Giovanni (Buenos Aires, Tel-Aviv). He sang the role of Sarastro from Die Zauberflöte (Dessau, Santiago), Achior from La Betulia Liberata (Salzburg), La Voce from Idomeneo(Paris Opera, Théâtre des Champs-Elysées), Figaro from Le Nozze di Figaro (Buenos Aires), Guglielmo from Cosí fan tutte (Buenos Aires, Aix-en-Provence, New York Mostly Mozart, Edinburgh) and Osmin from Die Entführung aus dem Serail (Zürich).

In the Rossinian repertoire, he performed as Le Gouverneur from Le Comte Ory and Lord Sidneyfrom Il Viaggio a Reims (Zürich), Assur from Semiramide (Nancy), Selim from Il Turco in Italia (Angers, Nantes, Luxemburg), Walter and Melchthal from Guillaume Tell (Bad-Wildbad), Basilio from Il Barbiere di Siviglia (Berlin, Toulouse, Bordeaux), Haly from L’Italiana in Algeri (Buenos Aires, Paris Opera, Bordeaux) then Mustafà in the same opera (Buenos Aires, San Sebastián).

Besides, he also sang Lorenzo from I Capuleti e i Montecchi (Baden-Baden, Geneva, Paris Opera), Alessio from La Sonnambula (Paris Opera), Léandre from L’Amour des Trois Oranges (Amsterdam), Ferrando from Il Trovatore (Toulouse) and Colline from La Bohème (Buenos Aires, Paris Opera, London, Glyndebourne, Baden-Baden, Santiago, Toulouse, Bordeaux).

In the concert field, he took part in many series with the Orchestre national de France (Kurt Masur, James Conlon, Daniele Gatti, James Gaffigan), the Chicago Symphony Orchestra (Riccardo Muti), l’Orchestra Giovanile Luigi Cherubini (Riccardo Muti), the Orchestre de Paris (Louis Langrée, Jérémie Rhorer, Bertrand De Billy), the Ensemble Matheus (Jean-Christophe Spinosi), le Cercle de l’Harmonie (Jérémie Rhorer), the Ensemble Pygmalion (Raphaël Pichon), le Concert d’Astrée (Emmanuelle Haïm), l’Orchestre Révolutionnaire et Romantique (John Eliott Gardiner), the Hallé Orchestra in Manchester (Mark Elder), in such pieces as Haendel’s Messiah, Paisiello’s Missa Defunctorum, Bach’s Johannes-Passion, Dvorak’s Stabat Mater, Mozart’s Coronation Mass / C Mass / Vesperae Solennes de Confessore / Requiem, Berlioz’s L’Enfance du Christ, Rossini’s Stabat Mater, Schubert’s Mass in E-flat major… He sang solo recitals in Paris (Salle Cortot, Athénée), Toulouse (Capitole), London (Wigmore Hall and for the 2018 Proms at the Royal Albert Hall).

His engagements for season 2018-2019: Osmin from Die Entführung aus dem Serail (Zürich), Cadmus / Somnus from Semele (Zürich), Selim from Il Turco in Italia (Zürich), Assur from Semiramide(Pesaro) and in concert: La Betulia Liberata (Salzburg, Paris Seine Musicale), Méphistophélès from La Damnation de Faust (Orchestre national de France, Wiener Symphoniker), La Morte d’Abel by Caldara (Pavia and Salzburg), Mozart Requiem (Gulbenkian in Lisbon), Saint Cecilia Mass by Gounod (Beirut), Stabat Mater by Rossini (Orchestre Lamoureux) and several series with the Ensemble Pygmalion and the Ensemble Diderot.

His engagements for season 2019-2020: Ercole from Ercole Amante (Opera Comique), Osmin Die Entführung aus dem Serail (Geneve) , Le Gouverneur Le Comte Ory (Montecarlo), the tittle role in Don Giovanni (Teatro Mayor Bogota) and Don Basilio Il Barbiere di Siviglia (Nancy)

Ensemble Diderot
Founded in 2008 by violinist Johannes Pramsohler and a group of like-minded musicians, Ensemble Diderot has become an absolute reference in classical music. Their distinctive sound, the fresh approach to baroque music on original instruments inviting audiences to go on thought-provoking journeys, the creative use of historically informed performance, thorough research, and highly inventive programming have earned them a large international fan base, not only in the Early Music scene. The award-winning discography consisting mainly of world premiere recordings bears testimony to the adventurous spirit of the ensemble's members.

Johannes Pramsohler
With a PhD in Historically Informed Performance from the Royal Academy of Music and an extensive discography acclaimed by international critics, Johannes Pramsohler is widely acclaimed as one of the leading forces in the Early Music scene. A stimulating and inspirational personality with a desire for inventive programming and innovative collaborations, he brings a joyful sense of adventure to his music-making. Born in South Tyrol and now living in Paris, Johannes Pramsohler alternates his roles as artistic director and leader of Ensemble Diderot with that as a guest both as soloist and as conductor at the head of numerous groups. As artistic director and first violin of Ensemble Diderot, which he founded in 2008, he brings to life unknown repertoire with a keen sense for significant rarities and creative use of historically informed performance. As concertmaster, Johannes has collaborated with Concerto Köln, The King’s Consort, Le Concert d’Astrée, the European Union Baroque Orchestra, and as a guest of the Berlin Philharmonic with its early music ensemble Concerto Melante.

Johannes Pramsohler’s communicative skills and vast musicological knowledge make him a welcome guest as a soloist and increasingly also as a conductor of baroque orchestras and modern symphony orchestras alike. Thus he has performed with the Budapest Festival Orchestra and Ivan Fischer, the Taiwan Baroque Orchestra, Helsinki Baroque Orchestra, Darmstädter Barocksolisten, the Lower Saxony State Orchestra in Hanover, and the Tyrolean Symphony Orchestra Innsbruck, performing in concert halls such as the Berlin Philharmonie, Cologne Philharmonie, Queen Elizabeth Hall in London, Palau de la Música in Barcelona, and Suntory Hall in Tokyo.

Recent conducting engagements have taken him to the Teatro Colón in Buenos Aires for a staged production of Handel’s oratorio Theodora, to the Théâtre de l’Athénée and the Théâtre des Champs Elysées in Paris for the operas Dido & Aeneas by Purcell and Croesus by Reinhard Keiser, and to the Haus der Musik in Innsbruck where he conducted Beethoven symphonies.

A desire for artistic independence even in the recording studio led Johannes to found his own record label in 2013. Audax Records continues to release an astonishing variety of recordings, many of which have been awarded prizes including the Diapason d’Or, the German Record Critics’ Award (Preis der deutschen Schallplattenkritik), and the International Classical Music Award.

As a sought-after pedagogue, Johannes was responsible from 2011 until 2018 for the strings of the French Youth Baroque Orchestra, teaches at the Summer Academy of the Festival du Périgord Noir, and is regularly invited to give master classes at the Chinese Culture University in Taipei, the Shanghai Conservatory, the Norwegian Academy of Music, and the Instituto Superior de Arte del Teatro Colón in Buenos Aires.

Johannes Pramsohler studied at the Conservatory “C. Monteverdi” in Bozen with Georg Egger, at the Guildhall School of Music and Drama in London with Jack Glickman, David Takeno and Rachel Podger, at the Paris Conservatoire CRR with Patrick Bismuth, and at the Mozarteum Salzburg with Reinhard Goebel, and trained as an orchestra conductor with Nicolas Brochot in Evry. He obtained his doctoral degree (PhD) from the Royal Academy of Music with a thesis about style and performance issues of the early trio sonata in England and France. Johannes Pramsohler was a prizewinner at the 2011 Magdeburg International Telemann Competition. In 2010 he was awarded the Futura Award for young South Tyroleans abroad and in 2019 the Vincent Meyer award of the Royal Academy of Music. Since 2008 he has had the honour of owning Reinhard Goebel’s violin, a P. G. Rogeri made in 1713.

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