Giovanni Battista Pergolesi: Stabat Mater, P. 77 Capriola di Gioia, Bart Naessens, Amaryllis Dieltiens & Clint van der Linden

• Giovanni Battista Pergolesi (1710 - 1736): Stabat Mater, P. 77:
• 1 Stabat Mater, P. 77: I. Stabat Mater dolorosa 04:34
• 2 Stabat Mater, P. 77: II. Cujus animam gementem 02:09
• 3 Stabat Mater, P. 77: III. O quam tristis et afflicta 02:23
• 4 Stabat Mater, P. 77: IV. Quae moerebat et dolebat 02:10
• 5 Stabat Mater, P. 77: V. Quis est homo, qui non fleret 03:06
• 6 Stabat Mater, P. 77: VI. Vidit suum dulcem natum 03:39
• 7 Stabat Mater, P. 77: VII. Eja, Mater, fons amois 02:26
• 8 Stabat Mater, P. 77: VIII. Fac, ut ardeat cor meum 02:13
• 9 Stabat Mater, P. 77: IX. Sancta Mater, istud agas 06:08
• 10 Stabat Mater, P. 77: X. Fac, ut portem Christi moetem 03:41
• 11 Stabat Mater, P. 77: XI. Inflammatus et accensus 02:15
• 12 Stabat Mater, P. 77: XII. Quando corpus morietur 04:48
• Antonio Caldara (1670 - 1736): Maddalena ai piedi di Cristo:
• 13 Maddalena ai piedi di Cristo: Per il mar del pianto mio 05:03
• 14 Maddalena ai piedi di Cristo: Pompe inutili 07:29
• 15 Maddalena ai piedi di Cristo: Voglio piangere 04:40
• Total Runtime 56:44

Info for Giovanni Battista Pergolesi: Stabat Mater, P. 77

On this recording of Boccherini’s Arie da Concerto, the Belgian ensemble Capriola di Gioia defies the stubborn stereotyping of Boccherini as the gallant master of unsurpassable but insignificant melodies. Close listening to this marvellous music reveals a genius with a profound understanding of human psychology, and a rich harmonic palette to paint the smallest affective nuances. In these arias, Boccherini is rehabilitated as a true heir of Händel, a worthy contemporary to Haydn, and an early precursor of the belcanto of Bellini.

Amaryllis Dieltiens, soprano
Clint van der Linden, counter-tenor
Capriola di Gioia

Bart Naessens, conductor
Catherine Jones, violoncello

Amaryllis Dieltiens
studierte am Amsterdammer Konservatorium Gesang bei Lieve Vanhaverbeke und Margreet Honig, und schloß dort im Februar 2004 ab. Sie setzte ihre Studien fort an der niederländischen „Nieuwe Opera Akademie“ und besuchte Meisterkurse u.a. bei Maria Kristina Kiehr, Barbara Schlick and Konrad Junghänel. Von 1999–2006 war sie Mitglied der Capella Currende und des Currende Consort unter Erik Van Nevel, wobei sie an mehreren CD-Produktionen dieses Ensembles teilnahm. Zuletzt hat Amaryllis Dieltiens mit Dirigenten wie Richard Egarr, Jos Van Veldhoven und Erik Van Nevel zusammengearbeitet mit Opern- wie auch Oratorienrepertoire. Zusammen mit Bart Naessens gründete sie das Ensemble Capriola Di Gioia mit dem Ziel, Musik des 17.Jh. und des Barock, mit der beide eine große Leidenschaft verbinden, in besonders persönlicher und ausdrucksstarker Weise zu Gehör zu bringen.

Clint van der Linden
Born in South Africa, Clint van der Linde started singing at the Drakensberg Boys Choir School aged ten. In 1996 he was offered an International Scholarship to spend a year at Eton College during which he was offered the Queen Mother, the Queen Elizabeth Scholarship for a four year B-Mus degree at the RCM, London. After completing his BMus in 2001, he was offered a Martin Harris Scholarship to complete his Post Graduate Diploma. During his studies Clint had master classes with Anthony Rolf J ohnson, Roger Vignoles, Sarah Walker, Michael Chance and James Bowman. Clint has performed in concert halls throughout Europe, the US, Australia and Japan, in venues such as Carnegie Hall (US), the Lincoln Centre (US), Tanglewood (US) The Suntory Hall (Japan), Het Concertgebouw Amsterdam, Bozar (Brussels), the Queen Elizabeth Hall, London, St Martins in the Fields and the Crown Hall in Jerusalem, in festivals such as the Edinburgh Festival, the Bach Festpiele in Leipzig, the Handel Festspiele in Halle, the Bad Kissinger Sommer Festspiele and the Ludwigsburger Festspiele and the Mostly Mozart festival in New York. Staged performances including theatres across the United Kingdom, La Monnaie, Brussels, the Royal Opera House in Copenhagen and Bielefeld Opera. With groups and Orchestras such as The Academy of Ancient Music, The Göttingen Festspiele Orchestra, Il Fondamento, the Hanover Band, the Israel Camerata, the King`s Consort, the London Handel Orchestra, Le Musiche Nove, the Orchestra of the Age of Enlightenment, the Royal Philharmonic Orchestra, the Salzburg Camerata, Stuttgart Baroque Orchestra, Southern Sinfonia, Melbourne Symphony Orchestra, Philharmonia Baroque(US) and Bach Collegium Japan. Conductors include Frieder Bernius, Stephen Cleobury, Lawrence Cummings, Paul Dombrecht, Nicholas McGegan, Wolfgang Katchner, Gerhard Korsten, Nicholas Kraemer, Stephen Layton, Sir Roger Norrington, Kazushi Ono, Peter Schreier, Masaaki Suzuki, and Jan Willem de Vriend. His operatic roles include Oberon A Midsummer Night`s Dream, title roles in Handel`s Flavio, Ottone, and Lotario, Tolomeo, Rinaldo, Orlando, Cavalli's Jasone. Other Handel roles are Andronico, Tamerlano, Judas in the Brockes Passion, and Arsemenes, Xerxes, Dardanus Amadigi, Narciso and Ottone Agrippina. Non-Handel roles include Fernando in Conti's Don Chischotte in Sierra Morena, the Gardian of the Threshold in Richard Strauss' Die Frau Ohne Schatten. Recent and upcoming engagements include a.o. Farnace in Mozart’s Mitridate, Re di Ponto at the Nationaltheater Mannheim and Apollo in Britten’s Death in Venice (Bielefeld).

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