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CD85466 Terradelles (1713-1751) - Sesostri Re d'Egitto

CD85466 Terradelles (1713-1751) - Sesostri Re d'Egitto
CD85466 Terradelles (1713-1751) - Sesostri Re d'Egitto
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Product Description

CD85466 Terradelles (1713-1751) - Sesostri Re d'Egitto

Terradelles (1713-1751) - Sesostri Re D'eggito -

Hi friends,

This is a World Premiere after 256 years of the opera Sesostri, re d'Egitto composed by

DOMÈNEC TERRADELLAS (Barcelona 1713 - Roma 1751)

First performed in Roma, Teatre delle Dame, in 1751 in Barcelona, Teatre de la Santa Creu, 1754 Llibretto: Apostolo Zeno/Pietro Pariati

performed by

REIAL COMPANYIA ÒPERA DE CAMBRA Juan Bautista Otero, director Sesostri: Sunhae Im, soprano Nitocri: Alexandrina Pendatchanska, soprano Amasi: Kenneth Tarver, tenor Artenice: Ditte H. Andersen, soprano Fanete: Tom Randle, tenor Orgonte: Raffaella Milanesi, soprano

This is a live concert from the AUDITORI DE BARCELONA, Sala Oriol Martorell, on the 11 DE DESEMBRE DE 2010 at 20h30. Live Recording from Digital Radio Broadcast (DAB) by Catalunya Musica dd 11.12.10, encoded in MP3 at CBR 320kbps 16bit 48 KHz.

I have gathered the following info about Domènec Tarradaelles:

Domènec Terradellas (1713–1751) was born in Barcelon. The first studied was with Francisco Valls of Barcelona Cathedral, but moved in 1732 to Naples, where he studied with Francesco Durante at the Poveri di Gesù Cristo conservatory. His subsequent output was split between sacred choral works and operas, both noted for an arresting use of contrasts and innovation. Rousseau reported in his 1753 Lettre sur la musique française that a few years earlier Terradellas had expressed shame over his motets, with their "labored, grandly careless choruses. I loved to create noise; now I try to make music," or so Rousseau claims he said, though the writer was part of a lengthy tradition that put their own sentiments into the mouths of others, after the latter conveniently died. How Terradellas did die has never been satisfactorily explained, though the old standby—murder by a musical rival, in this case, Nicolò Jommelli, who supposedly had the body dumped in the Tiber—has been completely discounted as the usual rumor mill at work.

His first opera, Astarto, was written in Rome in 1739. His best known work, Merope, was also composed there in 1743. In 1746 he went to London where he was in charge of the opera at the King's Theatre for a season. However he was not successful and apparently soon left, eventually finding his way back to Turin for which he produced a Didone abbandonata in 1750, and Rome where his Sesostri re d'Egitto was a considerable success in 1751.

It is possible Terradellas uttered the sentiments Rousseau echoes, if not the words. Certainly his operas quest far after noveleffects.the composer displays great interest in the galant, espousing the thencurrent taste for Italianate simplification. He sometimes employs active bass lines, but elsewhere reduces them to reiterative rhythmic figures on the strings. Sighing figures, graceful melodiesof short compass, and simplified harmonies point to the influence of Hasse rather than the more advanced idiom of Jommelli. Yet again, Terradellas is capable of chromatic harmonies and swift harmonic movement, with abrupt changes in color, dynamics, and meter that hearken back to the Baroque.His output, he appears to have thrived on frequent touches of the unexpected that in many cases—it must be said—substituted for thematic distinction or dramatic appropriateness

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