Adriano In Siria

Marina Comparato (Adriano), Lucia Cirillo (Emirena), Annamaria Dell’Oste (Farnaspe), Nicole Heaston (Sabina), Stefano Ferrari (Osroa) & Francesca Lombardi (Aquilio Tribuno) & Accademia Bizantina, Ottavio Dantone (conductor) & Ignacio García (director)

Ter gelegenheid van de 300e geboortedag van Giovanni Battista Pergolesi kondigde de Fondazione Pergolesi Spontini in 2010 aan dat het van plan was om alle overgebleven opera's van de componist - in totaal vier opere series, twee intermezzi en twee komedies - op te nemen en op dvd uit te brengen. Deze productie van Adriano in Siria en het intermezzo Livietta e Tracollo werden ter gelegenheid hiervan in juni 2010 op het podium van het prachtige historische Pergolesi theater in zijn geboortestad Jesi gebracht.

De nieuwe productie van Ignacio García bevat ook het komische intermezzo Livietta e Tracollo, dat al werd uitgevoerd als een inter-act komedie bij de première van Adriano in Siria in 1734. Het schitterende Italiaanse zangensemble van de Accademia Bizantina staat onder leiding van de directeur van de Academie, Ottavio Dantone.

Pergolesi:
 Adriano in Siria

"This is the most impressive and engaging product of Pergolesi's anniversary year I've heard so far...[Annamaria dell'Oste] is more dramatically aware and dignified than simply dazzling: she never once plays to the gallery, or drops out of character...The orchestral playing is exceptionally fine, with the very tight ensemble vividly captured by the microphones."
International Record Review - January 2012

"Top marks go to conductor and director for giving the music space to breathe. The vocal cast is almost uniformly brilliant. The tension between unbridled feeling and duty's constraints - a tension that obsessed 18th-century audiences - simmers throughout, energising the extemporisation through which the singers develop character. Dell'Oste is in a class of her own: she turns coloratura into eloquent, heart-rending declarations."
BBC Music Magazine - February 2012 ****

"The stage action is pleasingly literal, sensible and unpretentious; Garcia allows the performers and audience enough mental space to concentrate fully on the rhetorical power of the soliloquy convention, without any ill-conceived attempt to subvert Metastasio's language and action into something sexy and postmodern...This is an exceptionally fine production that offers a great deal of integrity and fascination."
Gramophone Magazine - February 2012