Symphony While the Swans Come Forward (Live Recording) Johannette Zomer, Mike Fentross & La Sfera Armoniosa

Album info

Album-Release:
2018

HRA-Release:
01.06.2018

Label: Challenge Classics

Genre: Classical

Subgenre: Vocal

Artist: Johannette Zomer, Mike Fentross & La Sfera Armoniosa

Composer: Henry Purcell (1659-1695)

Album including Album cover

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  • Henry Purcell (ca. 1659-1695): The Prophetess: or, The History of Dioclesian, Z. 627:
  • 1The Prophetess: or, The History of Dioclesian, Z. 627: Symphony for Trumpets and Violins 02:00
  • 2The Prophetess: or, The History of Dioclesian, Z. 627: First Music 02:20
  • 3The Prophetess: or, The History of Dioclesian, Z. 627: What Shall I Do to Show Her How Much I Love Her03:53
  • 4The Prophetess: or, The History of Dioclesian, Z. 627: Butterfly Dance 02:18
  • 5The Prophetess: or, The History of Dioclesian, Z. 627: Dance of Furies 03:00
  • 6The Prophetess: or, The History of Dioclesian, Z. 627: Since from My Dear04:29
  • 7The Prophetess: or, The History of Dioclesian, Z. 627: Tune for Trumpets 00:56
  • 8The Prophetess: or, The History of Dioclesian, Z. 627: Canaries 01:13
  • The Indian Queen, Z.630:
  • 9The Indian Queen, Z.630: Air01:34
  • 10The Indian Queen, Z. 630: I Attempt from Love’s Sickness 01:51
  • 11The Indian Queen, Z. 630: Hornpipe 00:48
  • King Arthur, Z. 628:
  • 12King Arthur, Z. 628: Overture 01:57
  • 13King Arthur, Z. 628: First Act Tune00:36
  • 14King Arthur, Z. 628: Hornpipe 00:37
  • 15King Arthur, Z. 628: Fairest Isle 05:21
  • 16King Arthur, Z. 628: Trumpet Tune 00:51
  • 17King Arthur, Z. 628: St. George, The Patron of Our Isle 02:06
  • 18King Arthur, Z. 628: Chaconne 03:04
  • The Fairy Queen, Z. 629:
  • 19The Fairy Queen, Z. 629: Preludio 01:32
  • 20The Fairy Queen, Z. 629: Hornpipe 00:50
  • 21The Fairy Queen, Z. 629: Air 01:39
  • 22The Fairy Queen, Z. 629: Rondeau 01:32
  • 23The Fairy Queen, Z. 629: Symphony While the Swans Come Forward 02:22
  • 24The Fairy Queen, Z. 629: If Love's a Sweet Passion 05:23
  • 25The Fairy Queen, Z. 629: Symphony: Prelude, Canzona, Largo, Allegro, Adagio, Allegro 06:53
  • 26The Fairy Queen, Z. 629: Ye Gentle Spirits of the Air 05:58
  • 27The Fairy Queen, Z. 629: Dance for the Followers Night 02:15
  • 28The Fairy Queen, Z. 629: See Even Night Herself Is Here 04:25
  • 29The Fairy Queen, Z. 629: Air II 01:18
  • 30The Fairy Queen, Z. 629: Hark! The Echoing Air 02:29
  • 31The Fairy Queen, Z. 629: Grand Dance 03:10
  • Total Runtime01:18:40

Info for Symphony While the Swans Come Forward (Live Recording)



The first recording on Challenge Classics by the wonderful Dutch baroque orchestra, La Sfera Armoniosa. For its debut, La Sfera Armoniosa and its artistic director Mike Febtross have chosen orchestral music and arias from operas by Henry Purcell. Well-known baroque specialist, soprano Johannette Zomer joins the orchestra in this live recording.

La Sfera Armoniosa, founded in 1992, is a Dutch Baroque ensemble and orchestra specialized in the performance of music from the seventeenth and eighteenth century.

Mike Fentross: I was really moved when I heard my orchestra play the opening bars of the Purcell. I heard a sound that was quite different to what I knew from other present-day baroque orchestras. Was this sound closer to that of Purcell's own orchestra, a sound that he may have had in mind when composing this wondrous music? In the very first chat I had about this project with Lidewij van der Voort, our new concertmaster, we talked about the modern adaptations that are often (and understandably) applied to baroque instruments nowadays, and about the possibility of going back to authentic strings (completely bare gut) and a 17th century bow hold (the French grip) for this Purcell project. As it happens, I'd had a similar conversation not long before that with Lidewei de Sterck, our principal oboist, about authentic reeds (scraped from the inside) and with Graham Nicholson, about 17th century trumpets (natural trumpets with no finger holes). These aspects, seemingly just details, have a major impact not just on the sound but also the way of playing and therefore on the way we interpret the music. We all felt the need to record this CD with these 'experimental' instruments. An orchestral sound with so much transparency and colour, a way of playing with such narrative power! I'm full of admiration for the musicians who played so beautifully and who were prepared to take up the challenge of moving away from a well-trodden path.

Johannette Zomer, soprano
La Sfera Armoniosa
Mike Fentross, conductor



Johannette Zomer
The Dutch soprano Johannette Zomer began her studies at the Sweelinck Conservatorium Amsterdam in 1990 with Charles van Tassel, after having worked as a microbiology analyst for several years. In June 1997 she was awarded her Performance Diploma. Since then she has received coaching by Diane Forlano (London), Claudia Visca (Wuppertal) and Marlena Malas (New York). Her repertoire ranges from medieval music through all music of the baroque and classical eras, including opera, but also Lieder, French Romanticism and Contemporary music.

Johannette’s concert appearances are also many and various. She has worked with Baroque specialists such as Philippe Herreweghe, Ton Koopman, Frans Brüggen, Gustav Leonhardt, René Jacobs, Reinard Goebel, Ivor Bolton, Thomas Hengelbrock and Paul McCreesh, but has also worked with conductors including Kent Nagano, Daniel Harding, Ivan Fisher, Marcus Creed, and Valery Gergiev.

She regularly gives recitals accompanied by theorbo player Fred Jacobs or fortepiano specialist Arthur Schoonderwoerd.

Johannette made her opera debut as Tebaldo in Verdi’s Don Carlo with the Nationale Reisopera in October 1996. Since then she has made regular appearances in roles including Belinda, Pamina, La Musica, Euridice, Dalinda and Ilia, and also as Amanda in Ligeti’s Le Grand Macabre and Mélisande in Debussy’s Pelléas et Mélisande.

Regularly she contributes to CD-recording projects. A few of her most recent releases – all very well received in both press and radio – are the Bach Cantatas disc with the English ensemble Florilegium for which she won an Edison Award the cd With Endless Teares with theorbist Fred Jacobs, showing the development of English 17th Century Song –one of the top choices of 2009 on CD Review BBC-, and the cd Love & Madness, a disc with Händel aria’s together with Bart Schneemann, oboe (all on Channel Classics).

In 2013 she founded her own ensemble the Tulipa Consort. She has performed with this new ensemble at the Göttinger Handel Festspiele, and in Amsterdam with Dutch oboist Bart Schneemann.

La Sfera Armoniosa
founded in 1992, is a Dutch Baroque ensemble and orchestra specialized in the performance of music from the seventeenth and eighteenth century. Artistic director and conductor is Mike Fentross. Mike Fentross: I was really moved when I heard my orchestra play the opening bars of the Purcell. I heard a sound that was quite different to what I knew from other present-day baroque orchestras. Was this sound closer to that of Purcell's own orchestra, a sound that he may have had in mind when composing this wondrous music? In the very first chat I had about this project with Lidewij van der Voort, our new concertmaster, we talked about the modern adaptations that are often (and understandably) applied to baroque instruments nowadays, and about the possibility of going back to authentic strings (completely bare gut) and a 17th century bow hold (the French grip) for this Purcell project. As it happens, I'd had a similar conversation not long before that with Lidewei de Sterck, our principal oboist, about authentic reeds (scraped from the inside) and with Graham Nicholson, about 17th century trumpets (natural trumpets with no finger holes). These aspects, seemingly just details, have a major impact not just on the sound but also the way of playing and therefore on the way we interpret the music. We all felt the need to record this CD with these 'experimental' instruments. An orchestral sound with so much transparency and colour, a way of playing with such narrative power! I'm full of admiration for the musicians who played so beautifully and who were prepared to take up the challenge of moving away from a well-trodden path.

Mike Fentross
first studied with Toyohiko Satoh at the Royal Conservatory in The Hague, then with Nigel North and José Miguel Moreno.

He has built a solid reputation as a “continuist”, playing in renowned orchestras like Les Arts Florissants, and is much in demand in his country as well as abroad. He plays and records regularly with great European ensembles such as Capriccio Stravagante, Les Arts Florissants, the Amsterdam Baroque Orchestra, the Harp Consort, the New London Consort and Al Ayre Espanol.

In 1991 he founded La Sfera Armoniosa, a group devoted to the performance of 17th-century music. Since 1996 Mike Fentross is guest professor at the Royal Conservatory in The Hague.

This album contains no booklet.

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