01 Kyrie 
02 Gloria 
03 Laudamus 
04 Domine Deus 
05 Qui Tollis 
06 Qui Sedes 
07 Cun Sancto Spiritu 
08 Gloria 

Leila Guimaraes - Soprano 
Lola di Vito - Mezzo-Soprano 
Tie Min Wang - Tenor
Paul Claus - Baritone 
Coro Magnificat di Ursel (Choir)
Coro Sint Martinus di Drongen-Baarle (Choir)
Karolien De Meyer - Choir Master
Orchestra Jeugd en Muziek in Oost-Vlahnderen 	
Geert Soenen - Director

The piece is certainly an interesting one: the Missa de Nossa Senhora da Conceição was composed in Brasil in 1854 when native composer Carlos Gomes was only 18 years of age. What one hears is not a Latin Mass setting with a Brazilian accent so much as a deliciously trashy, sub-Verdian romp through the mass text, redolent of Italian opera. Gomes' sprightly and tubthumping setting of the "Gloria" is about as appropriate to the occasion as would be playing a Rossini overture at someone's funeral. But it proves that even at age 18 Gomes was a true believer in Italian opera, and he would eventually travel to Italy and enjoy great success as the composer of Il Guarany, the greatest Verdian opera that Verdi did not write.

However, that is probably all one can deduce about the Missa de Nossa Senhora da Conceição from this wretched performance. It is not a terribly demanding work to play, but apparently it is beyond the abilities of the Orchestra Jeugd en Muziek in Oost-Vlahnderen, which for non-Flemish speakers would be the Music Student Orchestra of East Flanders. The solo singers are both over the top while not wholly in command of their parts. However, it is the chorus that grabs one's attention here; the sopranos frequently slide off the rails, and in the "Kyrie" the vowels in the word "eleison" is sung severally by some singers as "ee" and others as "ay." In unison passages, the chorus sounds like a crowd. Applause follows every movement of this Mass; there are almost three minutes of it at the end of the reprise of the "Gloria." What would possess any classical company to produce such an obvious "party record" like this is beyond comprehension.

If Louis Moreau Gottschalk's lost "Clermont Mass" is ever located, then a good performance of Gomes' Missa de Nossa Senhora da Conceição would make interesting filler for that. Nevertheless, this is anything but a "good" outing, and about the only thing "good" about Gomes: Missa de Nossa Senhora da Conceição is that the sound here is better than average for the label Bongiovanni. If one simply cannot resist this offering, then by all means proceed, but bring a handkerchief, as tears will flow, albeit not prompted by the emotional impact of this reading. --- Uncle Dave Lewis, Rovi

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Disc: 1
  1. Salvator Rosa, opera: Sinfonia
  2. Salvator Rosa, opera: Act 1. Ebbene Gennariello?
  3. Salvator Rosa, opera: Act 1. Mia peccerella
  4. Salvator Rosa, opera: Act 1. Vero figliuol di Napoli
  5. Salvator Rosa, opera: Act 1. Ebbene, quai nuove?
  6. Salvator Rosa, opera: Act 1. Sublime cor
  7. Salvator Rosa, opera: Act 1. Forma sublime
  8. Salvator Rosa, opera: Act 1. Salvator, celatevi
  9. Salvator Rosa, opera: Act 1. Viva l'arte e l'allegria
  10. Salvator Rosa, opera: Act 1. Delle truppe rispondi
  11. Salvator Rosa, opera: Act 1. Contro il poter sovrano
  12. Salvator Rosa, opera: Act 1. A patti coi ribelli
  13. Salvator Rosa, opera: Act 1. Morte allo straniero
  14. Salvator Rosa, opera: Act 1. Quel dolce sguardo
  15. Salvator Rosa, opera: Act 2. E' desso
  16. Salvator Rosa, opera: Act 2. E il foglio io segnerò?
  17. Salvator Rosa, opera: Act 2. Di sposo, di padre
  18. Salvator Rosa, opera: Act 2. Di Masaniello il messaggier
  19. Salvator Rosa, opera: Act 2. Di stupore ho l'ama ripiena
  20. Salvator Rosa, opera: Act 2. Sulle rive di Chiaja
  21. Salvator Rosa, opera: Act 2. La speme dell'amor
  22. Salvator Rosa, opera: Act 2. Per questa augusta imagin
  23. Salvator Rosa, opera: Act 2. A festa!
  24. Salvator Rosa, opera: Act 2. Veh! Veh!
  25. Salvator Rosa, opera: Act 2. Al prode Masaniello

Disc: 2
  1. Salvator Rosa, opera: Act 2. Largo! Largo a Masaniello
  2. Salvator Rosa, opera: Act 2. L'arbitro nostro
  3. Salvator Rosa, opera: Act 2. Povero nacqui
  4. Salvator Rosa, opera: Act 2. Viva! Viva! Su, accorriamo
  5. Salvator Rosa, opera: Act 2. Dov'è l'eroe del popolo?
  6. Salvator Rosa, opera: Act 2. Vieni, o di popoli invitto
  7. Salvator Rosa, opera: Act 3. Preludio e Coro / Le tazze colmiamo
  8. Salvator Rosa, opera: Act 3. Strane parole
  9. Salvator Rosa, opera: Act 3. Alla plebe libiamo!
  10. Salvator Rosa, opera: Act 3. Masaniello, amico
  11. Salvator Rosa, opera: Act 3. Là su quel fragil legno
  12. Salvator Rosa, opera: Act 3. Si cerchi Masaniello
  13. Salvator Rosa, opera: Act 3. D'aura di luce ho d'uopo
  14. Salvator Rosa, opera: Act 3. Volate! Volate!
  15. Salvator Rosa, opera: Act 3. Cielo, mio padre!
  16. Salvator Rosa, opera: Act 3. Sola il mio bianco crine
  17. Salvator Rosa, opera: Act 4. Mia peccerella, deh! Vieni
  18. Salvator Rosa, opera: Act 4. Chi è là?
  19. Salvator Rosa, opera: Act 4. Al ballo, alle mense
  20. Salvator Rosa, opera: Act 4. Salvator! Isabella!
  21. Salvator Rosa, opera: Act 4. Vieni, di gioia un'estasi
  22. Salvator Rosa, opera: Act 4. Ah! Ti trovo
  23. Salvator Rosa, opera: Act 4. Cresciuta al pianto io fui

Volodymyr Deyneka (Bass Baritone), 
Tiziana Spagnoletta (Soprano), 
Mauro Pagano (Tenor),
Francesca Scaini (Soprano), 
Gianfranco Cappelluti (Baritone), 
Francesco Ellero d'Artegna (Bass),
Salvatore Cordella (Tenor), 
Leonardo Gramegna (Tenor), 
Sofiya Solovey (Soprano),
Annalisa Carbonara (Soprano), 
Emile Zhelev (Bass)

Bratislava Chamber Chorus
Italian International Orchestra
Maurizio Benini - conductor

Salvator Rosa, born in 1615, was a painter, engraver, actor, satirist, composer, etcher, and draftsman. He studied in Naples, and then went to Rome in 1635 for further studies. After contracting malaria, he returned to Naples and painted numerous marine and battle pictures. These nature scenes were picturesque and flamboyant, and although he was three centuries early, they evoke the poetic qualities of the Romantic era. Rosa returned to Rome in 1639, to become a comic actor. He made a powerful enemy when he satirized Bernini, and was forced to settle in Florence. There he gained the patronage of the Medicis and founded the artistic gathering place, Accademia dei Percossi (Academy of the Afflicted). Rosa returned to Rome in 1649, to pursue a career as a painter, primarily of religious and historical subjects, which he considered a loftier ideal than the innovative secular works for which he is primarily known. This was the real Salvator Rosa. None of these real life circumstances is portrayed in Antônio Gomes’ opera Salvator Rosa, however.

Rosa remains an artist in the opera, but apparently a posthumous one. The action of the opera takes place in 1674 (Rosa died in 1673). The opera character Rosa is now friends with Masaniello, who is leading a Neapolitan revolt against the Spanish domination, and, in particular, the Duke of Arcos. Rosa falls in love with the Duke’s daughter, Isabella, a woman he has only seen once! She loves him, too, but the Duke wants his daughter to marry Fernandez, commander of the Spanish troops. Fernandez is happy with the arrangement, but when Isabella pooh-poohs the engagement, she is promptly sent to that repository for recalcitrant daughters, the convent. The opera has deceits, poisonings, madness, and suicide. The libretto by Antonio Ghislanzoni (also the librettist of Aïda)—aside from some hokey elements, breeches of logic, and bearing a strong familiarity to other 19th-century works—is fairly well constructed and provides a stable foundation for the Gomes score.

Antônio Carlos Gomes (1836–1896) was born in Brazil, but achieved success and acclaim in Italy after studying in Milan. He wrote several operas, operettas, a symphonic poem, cantatas, and considerable chamber pieces. Much of his music is very Italianate, reflecting the trends prevalent in the late 19th century. Echoes of Verdi, Ponchielli, and Donizetti can be heard, although I found a few places to be highly evocative of Arthur Sullivan. Gomes’s most famous opera, Il Guarany, was based on a Brazilian romance by José de Alencar. It was an immediate success and garnered praise from Verdi, who said, “This young man starts where I finish.” Gomes’s next opera, Fosca, departed from the bel canto and moved into the Wagnerian mold with leitmotifs in an “advanced polyphonic form.” Fosca is considered by many to be his masterpiece (it was not well received, although Gounod attended the premiere and complimented the work). Gomes returned to the bel canto style for Salvator Rosa. It has remained on the fringes of the repertoire and is second to Il Guarany in popularity.

The performance on this Dynamic album is a good one. For the most part, the cast does not have the international recognition that we have become accustomed to with many opera recordings, but the artists involved in this production are not amateurs. They acquit themselves very well and deliver a professional production. The two outstanding voices belong to Mauro Pagano, who has a clarion tenor reminiscent of Franco Corelli, and Francesca Scaini, who possesses a large, somewhat voluminous instrument that is warm, with a distinctive allure. Sofiya Solovey is bright and charming. The recorded sound is clear and balanced, the audience is quiet, limiting applause to key numbers and ends of the acts; footsteps and extraneous stage noises are minimal and rarely intrude on the music. The strengths outweigh the weaknesses in this Dynamic recording of Salvator Rosa.

Antônio Gomes’s music is melodic, frequently inventive, and will likely please listeners who enjoy late 19th-century Italian opera. Salvator Rosa will probably not replace La gioconda or Un ballo in maschera in anyone’s collection, but it deserves to be better known. At present, the discography of Gomes’s works is slim. Domingo recorded Il Guarany, and there is another recording of Salvator Rosa with the Dorset Opera, although both seem to be available only through European outlets. Several arias from his operas are included in various collections, and the Mass of Our Lady of Conception and his Sonata for String Quartet in D have been recorded. It is unlikely we’ll see another recording of Salvator Rosa anytime soon, although many of the productions Dynamic has released on CD have also appeared on DVD. A libretto in Italian and English is supplied, but no biographical information about the artists is provided. ---David L. Kirk, FANFARE, arkivmusic.com

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Disc 1
  1. Il Guarany: Sinfonia
  2. Il Guarany: Act One: Scorre Il Cacciator (Coro, Gonazles, Alvaro, Ruy, Alonso)
  3. Il Guarany: Act One: L'iadalalgo Vien -'Gentile di cuore'
   (Ruy, Alonso, Coro, Alvaro ,Gonzales, Antonio, Pery,Cecilia)
  4. Il Guarany: Act One: 'Cecilia, esulta. Reso ai nostri lari' - 'Salve, possente Vergine'
   (Antonio, Cecilia, Alvaro, Gonzales, Ruy, Alonso, Coro, Pery)
  5. Il Guarany: Scena E Duetta 'Perry!' - 'Che brami?' - 'Sneto una forza indomita' (Cecilia, Pery)
  6. Il Guarany: Act Two: 'Son Giunto In Tempo!' - 'Vanto Io Pur Superba Cuna' - (Pery)
  7. Il Guarany: Act Two: 'Ecco la grotta del convegno' - 'Serpe vil' (Gonzales, Alfonso, Ruy, Pery)
  8. Il Guarany: Act Two: 'Udiste?' - 'L'oro e un ente si giocondo' (Alonso, Ruy, Coro)
  9. Il Guarany: Act Two: 'Ebben, miei fidi' - 'Senza tetto, senza cuna' (Gonzales, Ruy, Alonso, Coro)
  10. Il Guarany: Act Two: 'Oh, come e bello il ciel!' - 'C'era una volta un principe' (Cecilia)

Disc 2
  1. Il Guarny: Act Two: 'Tutto e silenzio' - 'Donna, tu foresel'unica' (Gonzales, Cecilia, Coro, Alvaro)
  2. Il Guarny: Act Two: 'Miei fedeli' - 'Vedi quel volto livido'
   (Gonzales, Alvaro, Antonio, Pery, Cecilia, Coro, Ruy, Alonso, Pedro)
  3. Il Guarny: Act Three: 'Aspra, crudel, terribil' (Coro)
  4. Il Guarny: Act Three: 'Canto di guerra' - 'Giovinetta, nello sguardo' (Cacico, Coro, Cecilia)
  5. Il Guarny: Act Three: 'Qual rumore' - 'Or bene, insano' (Cacico, Coro, Cecilia, Pery)
  6. Il Guarny: Act Three: 'Tu, gentil regina' - 'Il passo estremo omai s'appresta' (Cacico, Coro)
  7. Il Guarny: Act Three: 'Ebben, che fu' - 'Perche di meste largrime' (Cecilia, Pery)
  8. Il Guarny: Act Three: 'Morte!' - 'O Dio deglil Aimore' (Cacico, Coro)
  9. Il Guarny: Act Three: 'Che fia?' - 'Sorpresi siamo' (Cacico, Coro, Cecilia, Antonio)
  10. Il Guarny: Act Four: 'Ne torna ancora?' - 'In quest'ora suprema' (Coro, Alonso, Ruy, Gonzales)
  11. Il Guarny: Act Four: 'No, traditori' - 'Gran Dio, che tutto vedi' (Antonio, Pery)
  12. Il Guarny: Act Four: ' Padre!' - 'Con te giurai di vivere'

Placido Domingo (Pery)
Verónica Villarroel (Cecilia)
Carlos Álvarez (Gonzales)
Hao Jiang Tan (Don Antonio de Mariz)
Marcus Haddock (Don Alvaro)
Graham Sanders (Ruy-Bento)

Chor und Extrachor der Oper Stadt Bonn
Orchester der Beethovenhalle Bonn
John Neschling (Conductor)

Moving back a century: the first Latin American opera composer to be performed in Europe was Antônio Carlos Gomes. No less than Verdi hailed the Brazilian as a “truly musical genius”. The best known of Gomes’s operas is IL GUARANY, premiered at La Scala, Milan in 1870. Now all but forgotten outside Gomes’s native country, Il Guarany is still a national treasure in Brazil. In 1994 Sony recorded the tragic opera complete in Bonn with Plácido Domingo as a Portuguese nobleman in 16th-century Brazil. Gramophone’s reviewer wrote: “The stars of this performance are Domingo in the title-role, ardent and committed, Verónica Villarroel on the most brilliantly stunning form I have heard her, and the capable and intelligent Carlos Álvarez. Both chorus and orchestra are excellent, and [conductor] John Neschling invests the whole with a real dramatic sense. Those who like full-blooded romantic opera should not miss this.” ---prestoclassical.co.uk

Sony Classical is pleased to offer lovers of great singing another ten complete opera sets from the RCA Victor/BMG, CBS/Sony and Eurodisc catalogues, with 3 titles (Rameau: Les Indes galantes, Ginastera: Bomarzo; Monteverdi: Ritorno d'Ulisse) remastered from the original tapes to sound better than ever. This latest release is especially diverse, embracing four centuries and rarities from two continents along with central works of the Italian and German repertoires. Many of these recordings are appearing on CD for the first time.

Moving back a century: the first Latin American opera composer to be performed in Europe was Antônio Carlos Gomes. No less than Verdi hailed the Brazilian as a “truly musical genius”. The best known of Gomes’s operas is IL GUARANY, premiered at La Scala, Milan in 1870. Now all but forgotten outside Gomes’s native country, Il Guarany is still a national treasure in Brazil. In 1994 Sony recorded the tragic opera complete in Bonn with Plácido Domingo as a Portuguese nobleman in 16th-century Brazil. Gramophone’s reviewer wrote: “The stars of this performance are Domingo in the title-role, ardent and committed, Verónica Villarroel on the most brilliantly stunning form I have heard her, and the capable and intelligent Carlos Álvarez. Both chorus and orchestra are excellent, and [conductor] John Neschling invests the whole with a real dramatic sense. Those who like full-blooded romantic opera should not miss this.” ---amazon.co.uk

Pierwszym kompozytorem z ameryki łacińskiej, którego opery były wykonywane w Europie był Antônio Carlos Gomes. W tym czasie, podobnie jak Verdiego, uznawano tego brazylijskiego artystę za muzycznego geniusza. Najbardziej znana z jego oper Il Guarany miała swoją premierę w mediolańskiej La SCALI w 1870 roku. Obecnie Il Guarany zaliczana jest to brazylijskiego dziedzictwa kultury narodowej. W 1994 roku Sony Classical zdecydowało się na rejestrację inscenizacji tego dzieła pochodzącej z Opery w Bonn. W roli głównej usłyszymy Plácido Domingo jako portugalskiego szlachcica w XVI – wiecznej Brazylii. Recenzent Gramophone wysoko ocenił kunszt Plácido Domingo w roli tytułowej, Veronicę Villarroel i Carlosa Álvareza w doskonałej dyspozycji głosowej, a także perfekcyjne przygotowanie Chóru orkiestry Opery w Bonn pod dyrekcja Johna Neschlinga. ---empik.com

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