Medieval England exerted a strong influence on Johann Simon Mayr, especially during his final proto-Romantic period. Alfredo il Grande was to be one of his last operas, with a narrative that takes us to a land under threat of war with the Vikings. Escaping capture, Alfred the Great travels incognito, ultimately defeating the enemy and rescuing his beloved Alsvita. With its grandiose choruses and sensuous melodies, this opera was conceived on a monumental scale and proved both impressive at its premiere and influential on the next generation of bel canto composers, making a substantial contribution to the development of the melodramma romantico.
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Reviews
“… Franz Hauk leads his period ensemble, the Concerto de Bassus, in a loving exploration of the unfamiliar score. The orchestra plays beautifully for him, although a few more string players would be welcome to flesh out the music. I suspect that Mayr would have had a larger orchestra available to him in 1819; still this is a minor point. This recording, with its finely engineered studio sound and diligent cast, deserves a welcome for throwing light on another long lost operatic curiosity.”
Mike Parr – MusicWeb-International.com – 30 May 2022
“… So impressive in their previous Mayr recording, Elena … The Simon Mayr Chorus – this time enhanced by members of the Bavarian State Opera Chorus – and Concerto de Bassus under Franz Hauk do not disappoint. They are joined by an equally impressive team of soloists, including mezzo Marie-Luise Dressen (Alfredo/Elfrido), tenor Markus Schäfer (Gutrumo), bass Daniel Ochoa (Etelberto) and soprano Sophia Körber (Alsvita).” ****
Will Yeoman – limelightmagazine.com.au – 1 May 2022
Performance *** Recording ***
“… The young cohorts of the Simon Mayr Chorus (with members of the Bavarian State Opera) and the Concerto de Bassus do fine work with the monumental choruses under conductor Franz Hauk, who keeps things moving in this early melodrama. Of the likeable soloists, Markus Schafer’s Gutrumo brings welcome dramatic colour and vitality.”
Sarah Urwin Jones – BBC Music magazine – April 2022
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