- Josef Mysliveček (1737 - 1781): Part I:
- 1Adamo ed Eva, Part I: Ouverture - Allegro con brio03:05
- 2Adamo ed Eva, Part I: Ouverture - Andante02:23
- 3Adamo ed Eva, Part I: Ouverture - Presto01:19
- 4Adamo ed Eva, Part I: Recitative. Eva non è più questo02:11
- 5Adamo ed Eva, Part I: Aria. Sente quest'alma oppressa07:31
- 6Adamo ed Eva, Part I: Recitative. Non più, Sposo, non più01:14
- 7Adamo ed Eva, Part I: "Non ti chieggo amor"09:15
- 8Adamo ed Eva, Part I: Recitativo. Che parli di Serpente?05:09
- 9Adamo ed Eva, Part I: Duetto. Ahi formidabil suono!01:42
- 10Adamo ed Eva, Part I: Recitative. Fuggiro I Rei01:11
- 11Adamo ed Eva, Part I: Aria. Quel affanno e quel dolore08:12
- 12Adamo ed Eva, Part I: Recitativo. Della Giustizia eterna02:14
- 13Adamo ed Eva, Part I: Aria. Chi sa, se mentre gemono02:22
- 14Adamo ed Eva, Part I: Recitativo. Poichè cosi tu speri01:17
- 15Adamo ed Eva, Part I: Duetto. Non è cruel rigore06:29
- Part II:
- 16Adamo ed Eva, Part II: Recitativo. Qui dove dianzi intesi02:03
- 17Adamo ed Eva, Part II: Aria. No, che vano, o ingordo affetto05:30
- 18Adamo ed Eva, Part II: Recitativo. Male errasti, infedel01:31
- 19Adamo ed Eva, Part II: Aria. Non so se il mio peccato06:27
- 20Adamo ed Eva, Part II: Recitativo. Pietà, Signor, pietà02:49
- 21Adamo ed Eva, Part II: Aria. Cara speranza del Mondo afflitto03:48
- 22Adamo ed Eva, Part II: Recitativo. Ma tu Donna01:39
- 23Adamo ed Eva, Part II: Aria. Colla mano onnipossente08:24
- 24Adamo ed Eva, Part II: Recitativo. Signor nell' ira tua pietoso00:57
- 25Adamo ed Eva, Part II: Aria. Amare lagrime05:08
- 26Adamo ed Eva, Part II: Recitativo. Che medito, che penso02:19
- 27Adamo ed Eva, Part II: Aria. Se al Ciel miro!08:40
- 28Adamo ed Eva, Part II: Recitativo. Si che placato sia02:56
- 29Adamo ed Eva, Part II: Duetto. Cara piaggia, almo soggiorno02:42
- 30Adamo ed Eva, Part II: Recitativo. Ma di qual nuovo raggio00:48
- 31Adamo ed Eva, Part II: Aria. Togliero le sponde al Mare05:08
- 32Adamo ed Eva, Part II: Recitativo. Mentre tu questi avvolgi00:49
- 33Adamo ed Eva, Part II: Aria. Rendero le sponde al Mare02:41
- 34Coro: Se la serena fronte04:16
Info for Adamo ed Eva
PREMIERE RECORDING “Full of fire, spirit and life.” is how Mozart described this work of his contemporary, presented here for the first time on this double album set.
Mozart’s positive verdict on Josef Myslivecek (1737-1781) was intended to make the listener aware, for the fact that the extremely critical Salzburg composer expresses himself positively about a colleague is an absolute exception.
His oratorio Adamo & Eva, performed in Florence in 1771, was composed at precisely the time when contact with the Mozart family seemed to have been particularly close.
The work presented by Il Gardellino alongside soloists Valerio Contaldo, Luciana Mancini, Roberta Mameli and Alice Rossiunder and under the direction of Peter van Heyghen, gives a good impression of what Mozart appreciated about Myslivecek’s music: melodic ingenuity as well as transparency and lightness of musical language. Highly Recommended.
"Mysliveček’s setting is unfailingly attractive, but is overly generous in some extended arias and rarely penetrates the story’s darker side. Peter Van Heyghen directs Il Gardelino with vigour, and the solo performances are superb. Valerio Contaldo brings an arresting expressive range to the tortured Adam and he is well matched by Luciana Mancini’s Eve." (BBC Music Magazine)
"Period band Il Gardellino are bright and pungent under director Peter Van Heyghen…If Mysliveček lacks the emotional range of his younger friend Mozart, he makes up for it with plenty of colour and easy melodies…An attractive work, if Adamo ed Eva doesn’t quite banish memories of Mysliveček’s more secular pursuits, it adds a welcome new spiritual dimension to man and musician." (Gramophone Magazine)
Valerio Contaldo, tenor (Adamo)
Luciana Mancini, mezzo-soprano (Eva)
Roberta Mameli, soprano (Angelo di Giustizia)
Alice Rossi, soprano (Angelo di Misericordia)
Peter Van Heyghen, conductor
Peter Van Heyghen
The musical activities of Belgian Early Music specialist Peter Van Heyghen are manifold. As a recorder player, he performs solo concerts, and tours with the chamber music ensemble More Maiorum and the recorder consort Mezzaluna, of both of which he is a founding member. As a conductor he is primarily active with the baroque orchestra Les Muffatti of which he is the artistic director. He also regularly conducts the baroque orchestras of the Brussels and The Hague conservatories and occasionally accepts invitations as a guest conductor by such orchestras as Les Agrémens, Wroclaw Philharmonia Baroque Orchestra, or the Deutsche Händelsolisten. Until recently he was also active as a specialized singer of Renaissance music. He performed with ensembles such as Capilla Flamenca and Weser- Renaissance, and for a period of four years he was one of the artistic directors of the vocal ensemble Cappella Pratensis. As a researcher he has published a number of trail-blazing articles on the history and performance practice of the recorder. As a professor of historicallyinformed performance practice (Renaissance and Baroque) he teaches at the Early Music departments of the conservatories in Brussels and The Hague. In addition he is regularly invited to give lectures, teach masterclasses and lead workshops at conservatoriums and universities all over the world. As a researcher, conductor and teacher Peter Van Heyghen has been increasingly active in the field of the Baroque operatic repertoire, for which he closely collaborates with the Belgian stage-director and choreographer Sigrid T'Hooft. Together they have been leading, amongst others, the annual opera workshop at the Händel-Akademie in Karlsruhe since 2003, and in 2009-10 they formed the team of artistic directors of the highly successful production of Handel's opera Radamisto at the Badisches Staatstheater in Karlsruhe.
The ensemble takes its name from Vivaldi ’s musical portrait of a virtuoso goldfinch, the concerto da camera del Gardellino. Oboist Marcel Ponseele and flautist Jan De Winne initiated a series of concerts of chamber music in 1988; one other musician who took part at that time was bassoonist Marc Minkowski. After several years of performing chamber works, five string players joined the ensemble in 1998, with the result that a much wider repertoire was made available to the group. The stimulus and support offered by Belgian Radio Klara at that time also gave the ensemble the means to continue its growth. Thanks to the generous support of the Vlaamse Gemeenschap from the year 2000 onwards, Il Gardellino has become a permanent part of the musical landscape both in Belgium and abroad.
The ensemble’s repertoire and philosophy can be compared to an active volcano: it is continually recreated and renewed. Il Gardellino carries out thorough research into the historical background of the works it performs, so that each work that they perform, no matter from what period, will be presented according the performance style of the time for today’s audiences. Over many years of such work, Il Gardellino has created a sound world that is very much its own.
The ensemble’s admiration for the works of Johann Sebastian Bach has ensured that these compositions lie at the heart of their repertoire; Il Gardellino has nonetheless set itself the challenge of performing the works of composers who are unjustly lesser-known, as can be seen from their many recordings and concerts of the works of Eichner, Graun, Fasch, Janitsch, Stölzel and Heinichen. The ensemble prefers to perform in historic spaces, where the harmonic relationship between music and architecture creates its own dialogue with the audience.
The eight permanent members of the ensemble are joined by singers, extra winds and strings according to the requirements of the work being performed. The musicians are eminent specialists in historic performance practice and internationally renowned performers of baroque music: Marcel Ponseele (oboe), Jan De Winne (traverso), Ryo Terakado, Mayumi Hirasaki, Joanna Huszcza, François Fernandez (violin), Kaat De Cock and Ingrid Bourgeois (viola), Emmanuel Balssa, Ira Givol and Ronan Kernoa (cello), Vittorio Ghielmi (gamba), Alain Derijckere (bassoon), Frank Coppieters and Korneel Lecompte (double bass), Shalev Ad-El, Lorenzo Ghielmi and Bart Naessens (harpsichord). The ensemble also collaborates with well-known soloists as well as with other leading ensembles such as Cappella Amsterdam.
Il Gardellino is highly regarded both in national and international musical circles and is a frequent guest at important European music festivals and concert halls such as the MA Festival in Bruges, the Ghent Festival van Vlaanderen, the Festival Oude Muziek in Utrecht, the Festival de Sablé and Festival de Sainte as well as other festivals in Prague, Innsbruck, Berlin, Regensburg, Leipzig and Barcelona. The ensemble has also appeared in Australia, Asia, the USA, Central and South America, Israel and Russia. Their concert tours are often combined with series of master classes.
Il Gardellino possesses a comprehensive discography, having recorded for the Accent, Klara, Eufoda and Passacaille labels. These recordings have been acclaimed by both press and public; several of them have been awarded the Diapason d’Or and Classica by the international music press.
This album contains no booklet.