ソプラニスタ

注目の"ソプラノスタ"がデッカ・デビュー!

センセーションを巻き起こしている、1993年ヴェネズエラ生まれのソプラニスタ(男性のソプラノ)、サミュエル・マリーニョがデッカ・レーベルと契約しました。これはそのデビュー・アルバムです。18世紀のカストラートのために書かれたモーツァルトとグルックの人気のある美しいアリアが収録され、個性的で繊細な声が披露されています。
男性によって初めて録音された曲も多く聴かれ、ブローニュ・シュヴァリエ・ド・サン=ジョルジュとドメニコ・チマローザの作品は世界初録音。演奏は古楽器のスペシャリスト、アンドレア・マルコンとラ・チェトラ・バロック・オーケストラ・バーゼルです。
ユニバーサル・ミュージック/IMS

Samuel Marino calls himself a male soprano, but this is not just a novel billing to make him stand out from a crowd of countertenors. He is an example of a much rarer voice type, a true natural male soprano voice, produced because his youthful voice never broke. He is sometimes likened to a castrato, of course, without having undergone the barbaric procedure, but even this is not quite right. The castrati were vocal athletes, capable of the big, heroic arias in opera seria. Marinos voice is a more delicate thing, more suited to lyrical tunes than to vocal acrobatics. It may be unsatisfying to say that listeners have to hear Marinos voice for themselves, but the age of sampling makes this easily possible. This is Marinos second solo recital, following on 2020s Care Pupille. That album focused closely on Handel and Gluck, but here, the soprano chooses arias by Mozart, Cimarosa, one by Gluck, and several selections (instrumental and vocal) by Black composer Joseph Bologne, Chevalier de Saint-Georges. With the latter, Marino kills two birds with one stone, for this composer is the subject of intense interest right now, and his moderate, charming French style fits well with Marinos sound. So does "Voi che sapete" from Mozarts Le nozze di Figaro, which opens the program, and in general, Marino sounds relaxed and playful here (as one can see perhaps in the gender-bending album graphics), perhaps more so than on his debut. The understated support he gets from the La Cetra Baroque Orchestra under Andrea Marcon also contributes to the uncanny effect, which listeners are heartily encouraged to experience for themselves.