Bella mia fiamma…
The result of a wonderful collaboration between the brilliant soprano Olga Pasichnyk and the Wrocław Baroque Orchestra, which plays historical instruments. A phonographic gem featuring works by one of the Viennese masters.
Bella mia fiamma…
The result of a wonderful collaboration between the brilliant soprano Olga Pasichnyk and the Wrocław Baroque Orchestra, which plays historical instruments. A phonographic gem featuring works by one of the Viennese masters.
Album premiere: 2012
Publishers: National Forum of Music, CD Accord
Conductor: Jarosław Thiel
Performers: Olga Pasichnyk, Natalia Pasichnyk, Marek Niewiedział, Wrocław Baroque Orchestra
Concert arias by Wolfgang Amadeus Mozart – designed, cut and sewn masterfully with the precision of a grand couturier for the voices of favourite singers – create a theatrical experience in which costumes, scenography and even the libretto cease to matter. The focus is on the inner world of the hero who loves, suffers, dreams, despairs, seduces, doubts, hates, dies and... lives.
Experiencing this music is like traveling to a wonderful island on an orchestral ‘ship’, guided by the most beautiful of instruments – the human voice.
Olga Pasichnyk
Andromeda? Sismano nel Mogol? Il curioso indiscreto? Cerere placata? Il burbero di buon core? No one will find these titles in the catalogue of Mozart’s operas, but Mozart gave us a foretaste of them by inserting himself into the works of other composers or using excerpts from ready-made librettos to give gifts to singers that he liked. This resulted from a custom prevailing in the opera world at that time, which was embodied by the so-called arias di bagaglio, or ‘arias from a suitcase’. Travelling singers cast in a premiere did not always feel like learning new music, so they reached into their travel bags, from where they pulled out replacement arias, tailored to their talents and capabilities, and then put inserted them in the relevant place in the performance. Sometimes these were arias from other operas by the same composer, and sometimes from works by another composer. Separate categories included new arias commissioned specially for a given revival with a changed cast and composed either by the original creator or by a local composer, and purely ‘concert’ arias, without any stage purpose – although they could sometimes be used for this purpose.
Piotr Kamiński
Awards:
– nomination for the Fryderyk 2013 award
– five Tuning Forks – a distinction from Diapason magazine
