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Nouveau Monde - Baroque Arias And Songs

Patricia Petibon

Nouveau Monde - Baroque Arias And Songs

...a fascinating journey
UNI153 (Deutsche Grammophon)
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Tracks: Listen and Download

Track Time Listen
1
Vendado es amor, no es ciego (Zarzuela) - El bajel que no recela

Vendado es amor, no es ciego (Zarzuela) - El bajel que no recela

Composer José de Nebra
Conductor Andrea Marcon
Soloist Patricia Petibon
Band La Cetra
05:31 Play
2
Yo soy la locura

Yo soy la locura

Composer Henri de Bailly
Conductor Andrea Marcon
Soloist Patricia Petibon, Joel Grare
Band La Cetra
02:40 Play
3
Codex Martinez Companon - Cachua a voz y bajo Al Nacimento de Christo Nuestro Senor

Codex Martinez Companon - Cachua a voz y bajo Al Nacimento de Christo Nuestro Senor

Composer Anonymous
Conductor Andrea Marcon
Soloist Patricia Petibon, Joel Grare
Band La Cetra
03:14 Play
4
Vendado es amor, no es ciego (Zarzuela) - En amor, pastorcillos, no hay quien distinga

Vendado es amor, no es ciego (Zarzuela) - En amor, pastorcillos, no hay quien distinga

Composer Jose de Nebra
Conductor Andrea Marcon
Soloist Patricia Petibon, Joel Grare
Band La Cetra
01:48 Play
5
Dido and Aeneas / Act 3 - "Thy hand, Belinda...When I am laid in earth"

Dido and Aeneas / Act 3 - "Thy hand, Belinda...When I am laid in earth"

Composer Henry Purcell
Conductor Andrea Marcon
Soloist Patricia Petibon
Band La Cetra
05:22 Play
6
Les indes galantes / Nouvelle Entree: Les Sauvages Scene 6 - Danse du Grand Calumet de la Paix (Rondeau) - Forets paisibles

Les indes galantes / Nouvelle Entree: Les Sauvages Scene 6 - Danse du Grand Calumet de la Paix (Rondeau) - Forets paisibles

Composer Jean-Philippe Rameau
Conductor Andrea Marcon
Soloist Patricia Petibon, Kevin Greenlaw
Band La Cetra, La Cetra Vocalensemble
04:13 Play
7
Cantata spagnola HWV 140 - No se emendara jamas

Cantata spagnola HWV 140 - No se emendara jamas

Composer George Frideric Handel
Conductor Andrea Marcon
Soloist Patricia Petibon, Joel Grare
Band La Cetra
03:36 Play
8
Codex Martinez Companon - Tonada la Lata a voz y bajo para bailar cantando

Codex Martinez Companon - Tonada la Lata a voz y bajo para bailar cantando

Composer Anonymous
Conductor Andrea Marcon
Soloist Patricia Petibon, Joel Grare, Pierre Hamon
Band La Cetra
02:10 Play
9
Mon amy s'en est alle

Mon amy s'en est alle

Composer Anonymous
Conductor Andrea Marcon
Soloist Patricia Petibon, Joel Grare, Pierre Hamon
Band La Cetra
03:35 Play
10
Codex Martinez Companon - Tonada la Lata el Congo a voz y bajo para baylar cantando

Codex Martinez Companon - Tonada la Lata el Congo a voz y bajo para baylar cantando

Composer Anonymous
Conductor Andrea Marcon
Soloist Patricia Petibon, Joel Grare, Pierre Hamon
Band La Cetra
03:20 Play
11
Chaconne for Soprano and Continuo - Sans frayer dans ce bois

Chaconne for Soprano and Continuo - Sans frayer dans ce bois

Composer Marc-Antoine Charpentier
Conductor Andrea Marcon
Soloist Patricia Petibon, Joel Grare
Band La Cetra
02:29 Play
12
Medee / Acte III / Scene 3 - Quel prix de mon amour

Medee / Acte III / Scene 3 - Quel prix de mon amour

Composer Marc-Antoine Charpentier
Conductor Andrea Marcon
Soloist Patricia Petibon, Joel Grare
Band La Cetra
05:35 Play
13
Medee / Acte III / Scene 5 / Scene 6 - Prelude - Noire filles du stix - L'Enfer obeit a ta voix

Medee / Acte III / Scene 5 / Scene 6 - Prelude - Noire filles du stix - L'Enfer obeit a ta voix

Composer Marc-Antoine Charpentier
Conductor Andrea Marcon
Soloist Patricia Petibon, Joel Grare
Band La Cetra, La Cetra Vocalensemble
03:57 Play
14
Medee / Acte III / Scene 7 - Dieu du Cocyte et des Royaumes sombres

Medee / Acte III / Scene 7 - Dieu du Cocyte et des Royaumes sombres

Composer Marc-Antoine Charpentier
Conductor Andrea Marcon
Soloist Patricia Petibon, Joel Grare
Band La Cetra, La Cetra Vocalensemble
04:49 Play
15
Greensleeves to a Ground - Arranged by La Cetra

Greensleeves to a Ground - Arranged by La Cetra

Composer Anonymous
Conductor Andrea Marcon
Soloist Patricia Petibon, Joel Grare, Pierre Hamon
Band La Cetra
04:09 Play
16
J'ai vu le loup, le renard et la belette

J'ai vu le loup, le renard et la belette

Composer Traditional
Conductor Andrea Marcon
Soloist Patricia Petibon, Joel Grare, Pierre Hamon
Band La Cetra
02:54 Play
17
Les indes galantes / Premiere Entree: Le Turc genereux Scene 2 - La nuit couvre les cieux - Que nous sert d'echapper a la fureur des mers

Les indes galantes / Premiere Entree: Le Turc genereux Scene 2 - La nuit couvre les cieux - Que nous sert d'echapper a la fureur des mers

Composer Jean-Philippe Rameau
Conductor Andrea Marcon
Soloist Patricia Petibon
Band La Cetra, La Cetra Vocalensemble
04:45 Play
18
King Arthur, or The British Worthy (1691) / Act 5 - Fairest Isle (Venus)

King Arthur, or The British Worthy (1691) / Act 5 - Fairest Isle (Venus)

Composer Henry Purcell
Conductor Andrea Marcon
Soloist Patricia Petibon
Band La Cetra
03:38 Play
Total Running Time 68 minutes
Prices shown in US Dollars
There is plenty still to be said, written and done on the subject of the conquest of the New World, and Patricia Petibon is one of those rare performers who has the gift of letting us look at the imagery of the past with fresh eyes and making everything seem timeless - the hallmark of a great artist.

This album is licensed for download from Deutsche Grammophon.

Download includes - cover art, booklet
La Cetra

La Cetra

Founded in 1999 in Basel, Switzerland, the period instrument orchestra La Cetra borrows its name from the title of Antonio Vivaldi's violin concertos Op. 9, published in Amsterdam in 1727.
profile & recordings >>
Patricia Petibon

Patricia Petibon

Patricia Petibon is a French coloratura soprano who is widely recognised for her interpretations of French Baroque music.
profile & recordings >>

‘Petibon alone is captivating enough, so expressive and penetrating is her voice. Add intriguing repertoire into the mix and you have a treasure. The soprano here explores old Europe's fascination with foreign lands, performing Baroque works about adventure and discovery. Obscure Rameau, Handel and Purcell anchors an appealing and almost totally unfamiliar program including traditional songs in multiple languages. Backing her is La Cetra Baroque Orchestra, an ensemble like Petibon seemingly capable of anything.' Plain Dealer

In 1768 the young Spanish priest and adventurer Baltasar Jaime Martínez Compañón y Bujanda first set foot on Peruvian soil. The songs we hear today are the outcome of a long and wondrous history of different unions across space and time. Here, this history begins with ‘J'ai vu le loup', one of the cornerstones of modern popular music, which would not have sounded strange to the colonists nor, consequently, to the people they encountered. Through its improvisatory quality and harmonic and rhythmic language it says almost everything: this is the ‘joyful' root.

Another strain illustrates the very human need to confide and to dream that is summed up in Greensleeves. Legend has it that this famous traditional song was Henry VIII's complaint to Anne Boleyn, composed by the king himself. It makes use of a ground bass, the backbone of Baroque music, and an essential link between Europe and the Americas that is found in the romanesca, passamezzo and chaconne: what could cross frontiers better than an insistent repeated motif to the rhythm of a beating heart?

Pastoral love is another universal link. Along with the song Mon amy s'en est allé (printed in 1615 by Jacques Mangeant), Charpentier's Sans frayeur dans ce bois, on a chaconne ostinato bass frequently found on the western side of the Atlantic, explores a theme entirely bound up with the conquest of the New World, that of the thirst for adventure. With the character of Medea, Charpentier also gives us a timeless scene, that of the torment of love, of the anger that leads the sorceress to invoke the divinities of the Styx - that broad river of the underworld, the end of a journey of no return for so many explorers.

Purcell, also using a ground bass, gives us another version of the failure of conquest in his portrayal of the ill-fated love of Dido, queen of Carthage, for Aeneas, the Trojan hero who abandons her. Both of their destinies are bound up with nations on either side of a sea. In King Arthur, the same composer illustrates another aspect of the New World: the myth of the natural state that was so prized in the 18th century.

Rameau's later response to this subject was his Indes galantes, with its scene of the Great Peace-Pipe (in the entrée of ‘Les Sauvages'). Here we are in an American forest, after the Indians have lost a battle against the Franco-Spanish troops. Zima, the chief's daughter, rejects the advances of two European soldiers, and chooses instead the Indian Adario. All's well that ends well, in the peace that is restored between the ‘savages' and the colonizing armies. Here again there is an insistent rhythm, a dance that perfectly illustrates the idea of the New World. At the beginning of the same opéra-ballet, in another entrée entitled Le Turc généreux (‘The Noble Turk'), the French girl Émilie, a prisoner of the pasha Osman, who is in love with her, is caught up in a storm. The same thing happens to the heroine of the zarzuela Vendado es amor, no es ciego (‘Love is Blindfolded, Not Blind'), by the Spanish composer José de Nebra where the vocals in the aria ‘El bajel que no recela' are almost enough to make the listener seasick. Is this a storm at sea, or a storm in the heart?

This idea is never very far away, for example in No se enmendará jamás, one of the first Spanish secular cantatas, the work of none other than Handel. He wrote this piece in Rome in 1707, for Cardinal Ottoboni, who enjoyed nothing better than to lay down a challenge to one of the greatest masters of the art of song. Commissioned by Ottoboni, Handel tackled cantatas in Italian, Spanish and French. For the Spanish one, a guitar is essential, and the performers here provide a fine example of an introductory improvisation.

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