Taralli: Cantus Bononiae Missa Sancti Petronii Veronica Simeoni, Simone Alberghini, Coro di voci bianche del Teatro Comunale di Bologna, Orchestra del Teatro Comunale di Bologna & Antonino Fogliani
- Marco Taralli (b. 1967): Polimetria sulle campane di San Petronio:
- 1Taralli: Polimetria sulle campane di San Petronio01:20
- Cantus Bononiae Missa Sancti Petronii:
- 2Taralli: Cantus Bononiae Missa Sancti Petronii: I. Kyrie eleison07:20
- 3Taralli: Cantus Bononiae Missa Sancti Petronii: II. Gloria in excelsis Deo09:26
- 4Taralli: Cantus Bononiae Missa Sancti Petronii: III. Credo in unum Deum11:49
- 5Taralli: Cantus Bononiae Missa Sancti Petronii: IV. Offertorium04:29
- 6Taralli: Cantus Bononiae Missa Sancti Petronii: V. Sanctus - Benedictus05:22
- 7Taralli: Cantus Bononiae Missa Sancti Petronii: VI. Agnus Dei06:11
- 8Taralli: Cantus Bononiae Missa Sancti Petronii: VII. Communio03:53
- 9Taralli: Cantus Bononiae Missa Sancti Petronii: VIII. Exitus02:26
Info zu Taralli: Cantus Bononiae Missa Sancti Petronii
Bologna and San Petronio, patron saint and protector of the city, represent an inseparable union, a spiritual and civil unity that goes beyond the only meaning linked to religion. The Basilica named after him, symbol of the city, wants to revive the spirit of reconstruction promoted by the saint, when he found it devastated by the barbarian invasions and was the main protagonist of both material and intellectual rebirth, going as far as laying the foundations of what would be the first university in the world. A celebratory event organized by the 'Messa in Musica' Association that with the same spirit involved the major institutions of the city, the Municipality, the Basilica and the Teatro Comunale, led to the commissioning to the composer Marco Taralli (already on Tactus’, Requiem - In Memoriam, tc.950006) a great mass for solos, choir, children's choir and orchestra, to honor the patron saint of Bologna. The texts of the mass are completed by inserts from Liber Paradisus, the famous Bolognese 1256 text with which slavery was abolished for the first time in history.
The score, completed in January 2021, had its world premiere at the Teatro Comunale on September 22 and was the subject of a recording by the historic record company Tactus. The premiere performance in the presence of the audience is scheduled during the liturgical celebration that will be presided by the Archbishop of the Diocese of Bologna, His Eminence Cardinal Matteo Zuppi. The rite will be celebrated by Monsignor Stefano Ottani and Monsignor Oreste Leonardi. An occasion to offer the city a composition that will remain a perennial patrimony of Bologna and its Basilica.
"The composition of a Mass - explains composer Marco Taralli - is the answer to the need to give voice to the sacred part of our soul with a contemporary language, able to excite even in the third millennium. The form is the classical one (Kyrie, Gloria, Credo, Sanctus, Benedictus, Agnus Dei) with the text in Latin and in closed numbers, in the most genuine tradition of the Masses of the 18th and 19th centuries. Why Latin? It is a language that has been generating vibrations for 3,000 years, for 2,000 as a sacred language. It has a strength from which it is impossible to escape. This Ordinarium was accompanied by a Proprium written specifically for San Petronio in Bologna. To write it, Davide Rondoni was involved, who extracted three texts (in Italian) from the 'Liber Paradisus'. They will be heard in three moments: in the Offertorium, during Communion and for the exit song. To the two solo voices of central timbre (mezzo-soprano and baritone) I have placed a four-part mixed choir, which in its vocal mass evokes the people, and a choir of white voices, obviously more ethereal in color.
The orchestra is deliberately small (the woodwinds are one, with two clarinets, two horns, a trumpet, a trombone, two percussion instruments and strings adequate for this ensemble). I tried to give a sense of essentiality while remaining faithful to a principle: music, even sacred music, must be able to express, narrate, tell. I tried to set to music the soul of Bologna, which is work, understood as pure work, not necessarily aimed at a result, that work which is beautiful as such. Because work is beauty".
Veronica Simeoni, mezzosoprano
Simone Alberghini, baritone
Coro di voci bianche del Teatro Comunale di Bologna
Orchestra del Teatro Comunale di Bologna
Antonino Fogliani, conductor
Veronica Simeoni
was born in Rome. After her classic studies, she’s graduated by the Conservatorio of Adria in opera singing , continued her music formation under the guide of Raina Kabaivanska at the Chigiana Academy of Siena, and at Istituto Vecchi-Tonelli of Modena and State university of Sofia.
After her debut with the Teatro Lirico Sperimentale di Spoleto with Trovatore and Oberto Conte di San Bonifacio, she sang Charlotte in Massenet’s Werther at Teatro Vittorio Emanuele di Messina, Stabat Mater from Rossini Alla Scala with R. Chailly and Jocasta in Oedipus Rex of Stravinsky in Trieste under the direction of Giorgio Pressburger. An Artist of big versatility has in actives numerous debuts and prestigious collaboration with conductors in theatres all over the world. She‘s sang in the Requiem from Verdi in San Pietroburgo conducted by Yuri Temirkanov, after in Valencia, in Florence under the baton of Daniele Gatti and in Bologna with the conduction of Michele Mariotti; a role that seh sind also in a scenical form at the Opernhaus from Zurich conducted from Fabio Luisi. In the same theatre she’s also debuted in numerous titles: Roberto Devereux, La Straniera, Don Carlo, Anna Bolena and Aida.
The french repertoire, always her area of election, it seen’s her protagonist until Dom Sébastien, roi du Portugal, from Donizetti at the Theatre of Nurnmberg, proceed with Didon in Les Troyens in Valencia conducted by Valery Gergev and the direction by La Fura dels Baus and finally with Giulietta in Les Contes d’Hoffmann at Teatro alla Scala directed by Robert Carsen. In addition of this titles, Carmen in Mexico City, at the Sferisterio in Macerata, Venice, Bologna and Turin; La Favorite and L’Africaine both in Venice, the second rare opera of Meyerbeer that inaugurate the season; Guillaume Tell at Rossini Opera Festival in Pesaro conducted by Michele Mariotti and the direction of Graham Vick; in Pesaro she’s sung also Petite messe solennelle. With Charlotte that, after Lisbon, with the direction of Graham Vick, then in Rome, recently she mades her debut at the Metropolitan Opera in New York with Vittorio Grigolo.
The belcanto titles includes Maria Stuarda in Modena, Piacenza and Bilbao; Adalgisa in Norma in Sassari, Turin, Cagliari, Venice, Madrid and Savonlinna and finally Roberto Devereux in Madrid, Berlin and Munich with Edita Gruberova.
In roles of Verdi, like Fenena in Nabucco at Teatro alla Scala and Azucena in Trovatore at the Welsh National Opera in Cardiff, in Venice and in Bordeaux she’s had excellent reviews for her perfect adherence between dramaturgy and temperament. She sung also IX Symphony of Beethoven interpreted in Oviedo and in Rome, conducted by Lorin Maazel. Apart of her career is dedicated at the modern music: as well as the Requiem of Maderna in Venice, she played also the role of Agave in The Bassarids in Rome, in the occasion for the opening of the opera’s season.
Among her recent and future engagements: Carmen in Venice, Rome and Florence, Werther in Palermo, La forza del destino in Amsterdam conducted by Michele Mariotti and in London conducted by Sir Tony Pappano, Messa per Rossini at the Teatro alla Scala conducted by Riccardo Chailly, La damnation de Faust under the baton of Daniele Gatti directed by Damiano Michieletto for the opening of the new season in Rome and again at the Teatro Regio di Torino, La Favorite in Florence, Messa di Requiem in Washington and Bucharest, Rossini Stabat Mater with Myung Whun Chung at Santa Cecilia in Rome, Don Carlo in Bologna conducted by Michele Mariotti ann in Venice with M° Chung, Madama Butterfly in Muscat, Nabucco in Zurich, Cavalleria rusticana at the Teatro San Carlo di Napoli and at the Teatro Comunale di Bologna, Les Contes d’Hoffmann at the Metropolitan of New York.
Considerable is her interesting for the vocal chamber music: in her repertoire, besides the lyrics from Berlioz, Debussy and from Fauré, also masterpieces likes Wesendonck-Lieder of Wagner, Wunderhorn-Lieder of Mahler and Sei liriche on the text of Marina Cvetaeva of Šostakovič.
Simone Alberghini
Italian bass-baritone Simone Alberghini, 1994 Operalia Grand Prize winner, has appeared in opera houses at the highest level worldwide since the beginning of his career, singing at the Royal Opera House in London, Metropolitan Opera in New York, Washington National Opera, Wiener Staatsoper, Teatro La Fenice in Venice, Teatro Regio in Turin, Glyndebourne Festival, Festival della Valle d’Itria in Martina Franca, Rossini Opera Festival in Pesaro, Teatro di San Carlo in Naples, Teatro Comunale in Bologna, Bolshoi Theatre in Moscow, Mr. Alberghini regularly collaborates with internationally renowned conductors such as Maurizio Benini, Bruno Campanella, Riccardo Chailly, Teodor Currentzis, Andrew Davis, Vladimir Jurowski, Nicola Luisotti, Michele Mariotti, Zubin Mehta, Gianandrea Noseda, Seiji Ozawa, Emmanuel Villaume, Alberto Zedda. Mr. Alberghini recently performed: Guillaume Tell at the ROF in Pesaro and in Bologna, Donizetti’s Il furioso all’ isola di San Domingo at the Donizetti Musica Festival in Bergamo and on tour in Italy, L’Elisir d’Amore (Belcore) in Washington, Anna Bolena (Enrico VIII) at the Tchaikovsky Concert Hall in Moscow, Così fan tutte (Guglielmo) in Bologna and Firenze, Don Giovanni (title role) at the Perm State Opera under Teodor Currentzis, La Bohème (Marcello) in Tenerife and in Palermo, Les Contes d’Hoffmann in Toulon, La Cenerentola (Dandini) in Washington, Naples and Göteborg, Mozart’s Requiem in Turin with the Orchestra Sinfonica Nazionale della Rai, La Gazza Ladra at the Rossini Opera Festival in Pesaro, Conte di Luna in Il Trovatore in Tenerife, Il Turco in Italia (Selim) in Ravenna, Donizetti’s Requiem with the Copenhagen Philharmonic Orchestra, Escamillio in Carmen in Bologna. Mr. Alberghini starred in the Rada Film opera movie La Cenerentola directed by Carlo Verdone and conducted by Gianluigi Gelmetti, which has been telecast worldwide. Plans include: Le nozze di Figaro (Conte di Almaviva) at the Teatro di San Carlo in Naples, La fille du régiment (Sulpice) at the Gran Teatre del Liceu in Barcelona, Don Giovanni with the Opera de Lyon on tour in Oman.