L’Olimpiade: The opera by Markellos Chryssicos

This libretto for L’Olimpiade by Metastasio was widely popular enough to be used by over 60 different composers from 1733 to the end of the century. This album is the highlights from the new pasticcio opera, L’Olimpiade with 25 arias but without recitatives written by 16 different composers, which includes the world premier recordings of 16 arias.

This is one breathtakingly beautiful album. The orchestration by Markellos Chryssicos & Venice Baroque Orchestra was lively, elegant and sophisticated. Markellos Chryssicos looked very young but his sounds were thoughtful and very mature throughout the album. Though he played my most familiar Vivaldi aria, “Mentre dormi amor fomenti” much slower than I prefer.

All the performers had very beautiful voices. Every sound each singer produced was as smooth and sweet as the textures of silk or satin. Many of the aria compositions were probably not notably exceptional. And yet, all the musicians in this album were sublime, they performed them so gorgeously.

I fell in love with Romina Basso all over again. As Megacle, she sang the best aria in the album, “Se cerca, se dice ‘l’amico dov’e?’”  composed by Cherubini most wonderfully. It was beautiful, emotional and passionate rendition. She also showcased her wonderful virtuosity in her opening aria, “Lo seguitai felice” composed by Jommelli.

I’ve never heard Ruth Rosique who sang Aristea before. She’s the jewel of my new discovery. She had gorgeous, silky graceful voice. I was taken in by the beauty of her voice and singing expression by every aria she sang. Her “Tu di saper procure” composed by Paisiello was especially gorgeous.

Karina Gauvin as Argene was simply wonderful. She’s pure delight to listen to.

Franzisaka Gottwald as Licida was very good also. She had little darker shades in her voice than other singers in this album and had very silky voice as the rest of the singers.

Nicholas Spanos as Aminta was wonderful. I loved his “Siam navi all’onde algenti” composed by Hasse.

The only chest voice singer in the album, Nicholas Phan as Clistene was also wonderful. I once complained about the weakness of his upper register when he sang Lurcano in Handel’s Ariondante of the concert version conducted by Alan Curtis. Comparing to the performance, both his voice and singing have matured impressively since. There was no weakness in his upper range any more. And his voice was much fuller and richer. There was rich sweetness to his beautiful tenor voice.

This album is very beautiful and heavenly. I can listen to it over and over again.