Vinci: Catone In Utica Max Emanuel Cencic

• Leonardo Vinci (1690-1730): Sinfonia
• 1 Sinfonia I 01:25
• 2 Sinfonia II 00:54
• 3 Sinfonia III 01:07
• Act One - Scene 1
• 4 Perché sì mesto o padre? 06:34
• 5 Con sì bel nome in fronte 04:54
• Act One - Scene 2
• 6 Poveri affetti miei 02:29
• 7 Non ti minaccio sdegno 03:27
• Act One - Scene 3
• 8 Che giurai! Che promisi! 00:26
• 9 Che legge spietata! 03:47
• Act One - Scene 4
• 10 Dunque Cesare venga 07:19
• Act One - Scene 5
• 11 Io conquest occhi 02:27
• 12 Si sgomenti alle sue pene 03:20
• Act One - Scene 6
• 13 Tu taci Emilia? 00:39
• 14 Nell ardire che il seno t’accende 06:01
• Act One - Scene 7
• 15 Quanto da te diverso 02:12
• 16 Piangendo ancora rincecer suole 04:40
• Act One - Scene 8
• 17 Se gli altrui folli amori 00:41
• 18 O nel sen di qualche stella 04:23
• Act One - Scene 9
• 19 Giunse dunque a tentarti 01:37
• Act One - Scene 10
• 20 Pur ti reveggo, o Marzia 06:10
• Act One - Scene 11
• 21 Chi un dolceamor condanna 06:05
• Act One - Scene 12
• 22 Mie perdute speranze 04:37
• Act One - Scene 13
• 23 E in ogni core diverso amore 03:44
• Act One - Scene 14
• 24 Se manca Arbace 01:45
• 25 Un certo non so che 03:56
• Act One - Scene 15
• 26 Ah troppo dissi 00:17
• 27 E folia se mascondete 04:27
• Act Two - Scene 1
• 28 Romani, il vostro duce 07:48
• Act Two - Scene 2
• 29 Va, ritorna al tuo tiranno 04:11
• Act Two - Scene 3
• 30 A tanto eccesso arriva l orgoglio di Catone? 02:01
• 31 So, che pieta non hai 04:15
• Act Two - Scene 4
• 32 E qual sorte è la mia! 04:29
• Act Two - Scene 5
• 33 Soffre talor del vento 06:25
• Act Two - Scene 6
• 34 Lode agli dei La fuggitiva speme 01:29
• 35 In che t offende 06:53
• Act Two - Scene 7
• 36 Tu vedi o bella 01:17
• 37 Per te spero 04:13
• Act Two - Scene 8
• 38 Oh dei tutta se stessa 00:38
• 39 Nascesti alle pene 06:50
• Act Two - Scene 9
• 40 Si vuole ad onta mi ache Cesare s ascolti? 10:01
• Act Two - Scene 10 & 11
• 41 Se in campo armato 05:31
• Act Two - Scene 12
• 42 Ah signor che facesti? 05:28
• Act Two - Scene 13
• 43 Dovea svenarti allora 03:02
• Act Two - Scene 14
• 44 Sarete paghi alfin 00:37
• 45 So che godendo vai 04:39
• Act Two - Scene 15
• 46 Udisti Arbace? Il credo appena 00:46
• 47 Se sciogliere non vuoi 04:33
• Act Two - Scene 16
• 48 L ingiustizia, il disprezzo 00:49
• 49 Che sia la gelosia 07:00
• Act Three - Scene 1
• 50 Tutto amico ho tentato 02:27
• 51 La fronda che circonda 04:23
• Act Three - Scene 2
• 52 Quanti aspetti la sorte cangia in un giorno! 02:35
• 53 Confusa, smarrita 03:13
• Act Three - Scene 3
• 54 Qual’insoliti moti 03:36
• 55 Combattuta da tante vicende 02:47
• Act Three - Scene 4
• 56 Del rivale all’aita 00:42
• 57 Quell’amor che poco accende 08:56
• Act Three - Scene 5
• 58 Pur veggo alfine un raggio d’incerta luce 02:36
• Act Three - Scene 6
• 59 È questo amici il luogo 06:28
• Act Three - Scene 7,8 & 9
• 60 Deh, in vita ti serba 05:19
• Act Three - Scene 11 & 12
• 61 Dove mai l’idol mio 08:39
• Total Runtime 03:53:59

Info for Vinci: Catone In Utica

World premiere recording of an opera by a Neapolitan master fast gaining a first-rate modern reputation. Max Emanuel Cencic gathers around him an intoxicating mix of stratospheric countertenors, a top tenor, and an orchestra who sizzle with excitement for a performance of an opera that will appeal to all fans of Baroque music’s unsung heroes.

As March’s ‘Five Countertenors’ album showcased, the age of the countertenor is here. Max Emanuel Cencic has gathered around him, once again, a superb cast to bring Vinci’s “Catone In Utica” to vivid life.

“Vinci is the Lully of Italy: true, simple, natural, expressive”- for generations Leonardo Vinci was just another obscure Baroque composer: this first-rate recording will lift the veil from this forgotten genius of Italian opera, and from the mysterious all-male world of the 18th-century Roman stage.

With a libretto by Metastasio, Vinci’s opera was unveiled in Rome in 1728 with an all-male cast (women having been banned from the stage by the Pope): countertenors took the three heroic male roles as well as the female parts.

As well as Cencic (Arbace), the other superb countertenors are Franco Fagioli (Cesare), Valer Sabadus (Marzia), Martin Mitterutzner (Fulvio) and Vince Yi (Emilia). Tenor Juan Sancho takes the title role (Catone) in this stage work about Julius Caesar’s defeat of the Republican forces led by Marcus Portius Cato in 46BC, and Riccardo Minasi, who enjoys a considerable reputation for his recordings of Baroque repertoire, conducts.

Franco Fagioli, Cesare
Juan Sancho, Catone
Max Emanuel Cencic, Arbace
Valer Sabadus, Marzia
Martin Mitterrutzner, Fulvio
Vince Yi, Emilia
Jakob Peters-Messer (Intendant)
Il Pomo d’Oro
Riccardo Minasi, conductor

Max Emanuel Cencic
A combination of beautiful, pure tone and passionate delivery has made countertenor Max Emanuel Cencic one of today’s most sought after singers. In 2008, the German magazine Opernwelt said “Mr Cencic is blessed with the finest countertenor voice of our day.” Since then he has gone from strength to strength through many outstanding performances.

Born in 1976 in Zagreb, Cencic was perhaps destined to become a great countertenor, having first come to public attention aged six singing the Queen of the Night’s aria from the Magic Flute. He went on to sing with the Vienna Boys Choir, touring widely and launching his solo career in 1992 as a male soprano, followed in 2001 as a countertenor.

Cencic’s interpretation of Nerone in Monteverdi’s L’incoronazione di Poppea in Basel was an early milestone in his career, prompting Opernwelt to name him Best New Singer of the Year 2003. Other notable roles included Perseo in Vivaldi’s long-forgotten serenata Andromeda Liberata (recorded live by Deutsche Grammophon), the title role in Handel’s rarely performed opera Faramondo, and the Herald in the world premiere of Aribert Reimann’s Medea at the Vienna State Opera in 2010.

His iconic status among present-day countertenors was reinforced by the sensation he created in the title role of Vivaldi’s opera Farnace. Performed during the 2011-12 season in Paris, Lausanne, Amsterdam and Versailles, Cencic and the production achieved even wider success through widespread transmission on mezzoTV.

The crowning glory of Cencic’s 2012-13 season was the production, tour and recording of a newly-rediscovered opera, Leonardo Vinci’s Artaserse. The whole project was his idea, from the choice of work to the choice of cast. Originally premiered in Rome at a time when women were forbidden from performing on the public stage ‒ in 1730 ‒ this re-creation also featured an all-male cast, including five counter-tenors. Cencic sang the role of Mandane, and was rewarded for both his singing and the production with rave reviews. At the Opéra national de Lorraine, the Theater an der Wien, the Cologne Opera, the Opéra de Lausanne and the Théâtre des Champs-Élysées, every performance received a standing ovation. The production will be seen again between March and May 2014 in Cologne, Versailles and Amsterdam.

In November 2013 Cencic made his debut at the Frankfurt Opera in a production of Gluck’s Ezio. Solo appearances in the near future include performances of the programme “Bach meets Pergolesi’s Stabat Mater”, concerts of opera arias by Mozart and Rossini, and Orff’s Carmina Burana. His 2014 schedule also includes appearances in Tamerlano in Versailles, Munich, Cologne, Vienna and Krakow.

Cencic’s Decca recording of Handel’s Alessandro, released in September 2012, has garnered six major awards, including Opera CD of the Year for 2013 from operaawards.com, and won rave reviews: “Cencic is imperious hot-bloodedness personified” (BBC Music Magazine), “Max Emanuel Cencic commands the music totally, offering some of the most attractive tone of his distinguished recording career . . . ” (Opera News).

Cencic turns to works by Johann Adolf Hasse, with the 2014 Decca Classics release of Rokoko, a gripping collection of arias accompanied by George Petrou and Armonia Atenea.

Cencic’s extensive CD catalogue has won many awards, including eleven prizes for his Faramondo, four for a recital of Handel arias, and Germany’s prestigious Echo Klassik prize for his Duetti album. He sang the role of Valentiniano in the recording of Gluck’s opera Ezio, which also won an Echo Klassik prize, as did Leonardo Vinci’s Artaserse (all Virgin Classics).

Cencic frequently appears in productions at major opera houses worldwide, including the Vienna State Opera, Bavarian State Opera, Semperoper Dresden, Deutsche Oper Berlin, Teatro Real in Madrid, Barcelona’s Gran Teatre del Liceu, Théâtre des Champs-Elysées in Paris, La Monnaie in Brussels, Geneva’s Grand Théâtre and Teatro Nacional de São Carlos in Lisbon. In concert he has performed in such major venues as New York’s Carnegie Hall, Barbican Centre in London, Amsterdam Concertgebouw, Vienna’s Musikverein, Festspielhaus Baden-Baden, Laeiszhalle Hamburg, Palais Garnier in Paris and Tokyo’s Opera Nomori, and at festivals in Ludwigsburg, Potsdam, Halle (Händel Festspiele), Spoleto (Due Mondi), Ambronay, Eisenstadt and Dubrovnik. He collaborates on a regular basis with conductors William Christie, René Jacobs, Ottavio Dantone, Diego Fasolis, Jean-Christophe Spinosi, George Petrou, Emmanuelle Haïm, Fabio Biondi and Riccardo Muti.

With his singularly beautiful voice, innately musical approach and ability to truly capture audiences, the future is surely looking bright for Max Emanuel Cencic.

Booklet for Vinci: Catone In Utica