|Tito Manlio, RV 738 - Tito Manlio, RV 738, Act II: Aria: Combatta un gentil cor|
|Ottone in Villa, RV 729 - Ottone in Villa, RV 729, Act II: Aria: Leggi almeno, tiranna infedele|
|Ercole su'l Termodonte, RV 710 - Ercole su'l Termodonte, RV 710, Act II: Aria: Da due venti un mar turbato|
|Tito Manlio, RV 738 - Tito Manlio, RV 738, Act II: Non ti lusing la crudeltade|
|Dorilla in Tempe, RV 709 (excerpts) - Dorilla in Tempe, RV 709, Act I: Rete, Iacci e strali adopra|
|Orlando finto pazzo, RV 727 - Orlando finto pazzo, RV 727, Act II: Aria: Se garrisce la rondinella|
|Griselda, RV 718 - Griselda, RV 718, Act III: Ombre vane, ingiusti orrori|
|Tito Manlio, RV 738 - Tito Manlio, RV 738, Act II: Aria: Fra la procelle del mar turbato|
|La fida ninfa, RV 714 - La fida ninfa, RV 714, Act III: Aria: Dite, oime! Ditelo, al fine|
|Giustino, RV 717 - Giustino, RV 717, Act I: Aria: Nacque al bosco e nacque al prato|
|Tito Manlio, RV 738 - Tito Manlio, RV 738, Act III: Aria: Tu dormi in tante pene|
|Ottone in Villa, RV 729 - Ottone in Villa, RV 729, Act I: Aria: Gelosia, tu gia rendi l'alma mia|
|Catone in Utica, RV 705 - Catone in Utica, RV 705, Act II: Se mai senti spirarti sul volto|
|Griselda, RV 718 - Griselda, RV 718, Act III: Aria: Dopo un'orrida procella|
Notes & Reviews:
Sunday Times, 22nd April 2012
In Da due venti, from Ercole sul Termodonte, and Fra le procelle del mar turbato (Tito Manlio), she plunges into Cecilia Bartoli waters - her technique is more fluid, even if her timbre is edgier. Her bright, intense voice comes into its own in the slow numbers.
Gramophone Magazine, July 2012
Invernizzi, perhaps the most exciting Italian Baroque soprano today, chooses three of the most flamboyant ['storm' arias] and dazzles with her coruscating yet perfectly controlled coloratura...La Risonanza, pounding, strumming continuo to the fore, match Invernizzi all the way in flair and theatrical intensity...In sum, another winner for La Risonanza and a triumph for Invernizzi.
BBC Music Magazine, September 2012
One of Invernizzi's virtues is her ability to be fluently articulate and expressive, both in show-stoppers and arias that call for compassion, contemplation and reflection. Unlike some of her rivals, she always resists playing to the gallery. Her technique and sense of theatre are tempered to meet the requirements of the music, making for a musically rewarding as well as dramatically engaging recital.
International Record Review, October 2012
La Risonanza is irreproachable. Under Bonizzoni's expert direction, its soloists, alert strings and inventive continuo team of cello, double bass, harpsichord and, by turns, a very attractive archlute and theorbo provide Invernizzi with an unfailing sensitive support.
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