专辑简介

Melpomene - Julianne Baird Apollo - Danielle Munsell Howard Euterpe - Mary Ellen Callahan Erato - Marshall Coid Harpsichord - Elaine Comparone The Queen’s Chamber Band Conductor – Rudolph Palmer Il Parnaso confuso (Parnassus in Disarray) was composed by Gluck in 1765 to celebrate the wedding of Austrian Empress Maria Theresas eldest son, Archduke Joseph. It was for a private performance at Schönbrunn Castle in Vienna and members of the Habsburg royal family had prominent parts in the production. Maria Theresas son Leopold was the conductor and the four solo parts were sung by four of her daughters - Maria Elisabeth, Maria Amalia, Maria Josepha and Maria Carolina - who must have been excellent singers considering that their parts have quite florid writing. The trivial plot, such as it is, is set on Mount Parnassus and is peopled by Gods and Muses. It seems allegorically to celebrate the marriage of Archduke Joseph (Giuseppe) and his Bavarian bride, yet another Maria Josepha, referred to in the Italian libretto as stella bavara (Bavarian star). There are four treble roles: Melpomene (soprano Julianne Baird), Apollo (soprano Danielle Munsell Howard), Euterpe (soprano Mary Ellen Callahan), and Erato (countertenor Marshall Coid). Rudolph Palmer conducts the New York ensemble, The Queens Chamber Band, a group founded by Elaine Comparone, the noted harpsichordist who plays continuo here. The piece, lasting about 72 minutes, consists of a Sinfonia (overture), recitatives, six arias and a finale. Melpomene and Apollo each have two arias, the other principals one each. By far the most outstanding performance here is that of Julianne Baird, whose creamily beautiful singing is certainly well-known and admired. Her opening aria, In un mar, is a showpiece of spirited coloratura. Her farewell lament, Sacre piante, a bit ironic in tone, is nonetheless moving and hauntingly sung. The other two female singers are just a notch below Baird in skill and artistry. Il Parnaso confuso is not major Gluck, but this recording is its only recording ever, and it is not likely to be recorded again any time soon, so Gluck completists will want to snatch it up. The music itself is a kind of proto-Mozart and entirely pleasant of its kind.