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Raphaella Aleotti e le Monache di S. Vito


Le splendide armonie che Cappella Artemisia fa rivivere, sono risuonate tra quelle mura, in un «Concerto grande» che richiamava numerosi ascoltatori, spesso illustri. […] Il risultato è una maestria compositiva alta, unita ad una sensibilità particolare che rende questi brani gemme preziose di un piccolo scrigno finalmente riaperto.
Avvenire

“Toccata CD Tipp” […] Hier stimmen alle Timbres zusammen. Trotzdem bleibt die Interpretation so lebendig als wären dies Nonnen, die sich hat nicht so einfach suchen und finden konten, sondern Mitglieder ihres Ordens und Konvents wären. […] Dazu kommt noch ein hervorragendes Musizieren, sowohl instrumental als auch und vor allem vokal.
Robert Strobl, Toccata

Aleotti […] tends toward dramatic expression of the text, and when the singers of the Cappella Artemisia […] set the top line of one of these motets as an instrumentally accompanied solo, it’s easy to imagine that you’re listening to unknown Monteverdi. […] Recommended to all interested in music by women, and a nice source of an instant term paper for students.
James Manheim, All Music Guide


Soror mea, sponsa mea: Cantico Canticorum nei Conventi

The variety of styles and techniques presented, coupled with solid performances, makes this an invaluable recording. […] a lovely performance from the Cappella Artemisia singers, who get stronger with each recording.
Craig Zeichner, Early Music America

Toccata CD-Tipp: Wie immer ist die Cappella Artemisia ausschließlich mit Künstlerinnen besetzt und vertreten. [...] Mit dieser Einspielung setzt die Cappella Artemisia und ihrer Leiterin wieder einen Maßstab, knüpft nahtlos an die anderen gelungenen Produktionen an und bringt interessierten Hörerinnen und Höhern erneut unbekannte Musik nahe.
Robert Strobl, Toccata (Alte Musik Aktuell)

Candace Smith and her nine Bologna-based female singers […] have done sterling work in experimenting with the repertory of cloistered nuns in late renaissance Italy. […] There are some fascinating musical discoveries to be made here.
John Bryan, Early Music Review


Sulpitia Cesis: Mottetti Spirituali (1619)

Ascoltando questa composizione, cos ricca di dolcezza, di abbandono, quasi di languore, vengono in mente le visioni delle beate medievali, testimonianza di un amore immenso per il sacro, non privo di coinvolgimento fisico oltre che spirituale. Gli strumenti, poi, amplificano con suadenza la partecipazione estrema al sacro; […] sostituiscono egregiamente le voci maschili. L’interpretazione è notevole: tutta femminile, tutta spinta verso i colori cilestrini dell’acuto e cesellata con mira stilistica sulla morbidezza.
N.S., Amadeus

“Spirituelle Schönheit”: [...] Das Ergebnis ist hinreißend: ein Klangspektrum, das von luminosen Höhen, von jubilatorischem Glanz bis zu inniger Zartheit und bis zum sinnlich-sonoren Timbre gutturaler Tiefen reicht [...]. Insgesamt ist die Entdeckung dieser so kostbaren wie interessanten Werke eine große Tat auf hohem interpretatorischen Niveau. [...] Transparent und leuchtkräftig, aber auch nuanciert und schattiert, wenn es gefordert ist, treffen die Interpretinnen die eigentümliche Expressivität dieser Musik.
Martin Mezger, Concerto

Las interpretaciones de la Cappella Artemisia son muy buenas. Las mujeres que la integran cantan con claridad y calor […] y el apoyo instrumental, en espicial el de cornetas y trombones, es magnifico. ste es un disco excelente de una voz, conservadora pero convincente, que nos llega del claustro.
Craig Zeichner, Goldberg

I’m happy to report that the instrumentalists take full advantage [...], and the resulting ensemble sound is gorgeous. […] I welcome this recording as a successful effort to bring some wonderful and neglected music into the spotlight. […] And I have to add that when I see such high quality work done by a group made up entirely of women, I just want to say Go Girls!!!
Flora Newberry, Historic Brass Society Newsletter


Rosa mistica: musiche delle monache lombarde del ’600

Seven women composers, all new to the current catalogue, their music exquisitely sung—a delightful find.
George Pratt, BBC Music Magazine

Una rarità, dunque, l’ascolto di queste pagine, raccomandate anche da una emissione vocale calibrata, in stile antico ma anche così comunicativa ed avvincente. Ad accompagnare le fresche voci gli strumenti d’epoca della apprezzabile Cappella Artemisia diretta da Candace Smith […] Un’operazione a metà tra il musicologico e lo storico-sociale: dunque, doppiamente riuscita.
Lorenzo Tozzi, CD Classica

The voices of the Cappella Artemisia are all very different and highly individual—a quality which I greatly appreciate. […] This is not to say that the ensemble does not blend, for it does, and wonderfully so. […] There must have been vast collections of unpublished music at each of these famous female monasteries. Perhaps the search has only just begun. I, for one, would love to hear more.
Sonja Boon, Musick (Early Music Vancouver)

A lovely recital of music composed by Lombard nuns of the 17th century, beautifully sung and played by Candace Smith’s Cappella Artemisia. […] The great joy of this record is the inspiration which fills each bar. The tragedy is that so little of the sisters’ published works remain extant.
Early Music Society of Southern California

Stunning music, stunning performers. […] Cappella Artemisia perform these pieces with incredible depth and emotion, and the sound is likely to be fresh and unique to the ears of many Early Music fans.
Matthew Mendlik


Chiara Margarita Cozzolani: I Vespri Natalizi (1650)

Long awaited and much anticipated […] this profoundly beautiful recording […]
Sarah Whitworth, Early Music Women Composers Page

Was Candace Smith an wunderbar farbigen, üppigen Werken gefunden und erstmals aufgenommen hat, ist eine kleine Sensation […]. Ein Muss für liebhaberInnen italienischer Barockmusik ist.
clingKlong

Un tout récent enregistrement des Vêpres de Noël (lesquelles datent de 1650) vient brillamment illustrer les qualités d’une écriture raffinée, contrastée et sensuelle. Une belle découverte!
International Choral Bulletin

Le voci molto “reali” della Cappella Artemisia donano suggestiva trasparenza alle Antifone gregoriane, mostrano abilità negl’impervi registri gravi (a volte non sottoposti a trasposizione), precisione nei passi virtuosistici, equilibrio negli intrecci polifonici, dinamismo nel reagire alle situazioni più critiche e originalità di risultati (il volatile Amen che chiude il Dixit Dominus), e si dimostrano una nuova realtà del panorama musicale italiano che ama cantare “all’antica”.
Amadeus

The music of the big concerted vespers psalms bursts with thrilling ensembles and florid solo writing, very well executed by Cappella Artemisia. […] This disc is certainly a fine addition to the 17th-century Italian discography.
American Record Guide

La Cozzolani utilise l’écriture en double chur avec une maîtrese saisissante. [...] Extrêmement mouvante et sensuelle, sa musique témoigne que les murs du couvent n’étaient pas étanches aux influences extérieures. [...] Le résultat est splendide. L’adéquation stylistique est parfaite. [...] Une rareté à découvrir.
Répertoire des disques compacts


Canti nel chiostro: Musiche nei monasteri femminili del ’600 a Bologna

C’est toutefois de la Cappella Artemisia elle-même que provient l’aspect novateur de l’enregistrement. Cet ensemble regroupe des chanteuses provenant d’horizons classique, baroque, lyrique ou traditionnel. [...] En choeur, elle restitute au mieux un sens du collectif. [...] Les qualités de la direction, énergique et structurée, ainsi que d’une diction très claire sont à souligner.
Le monde de la musique

Es ist reizende Musik, auch wegen der Harmonien, die entstehen, wenn die Stimmen so dicht nebeneinander liegen. Das nur aus Frauen bestehende Ensemble Cappella Artemisia zeigt hier eine beachtliche Leistung. […] Alles in allem eine sehr schöne CD, die eine neue Welt öffnet und mit einer vergessenen Musizierpraxis bekannt macht.
Alte Musik Aktuell

This recording is a real find. From it one can understand why noble visitors were attracted to Bologna to hear the "Sirens in the Cloister". […] I heartily recommend this disc as a way to explore a wonderful "new" repertoire. […] It is perhaps too fanciful to imagine that in most convents the choir would have been composed of singers of this caliber.
American Record Guide

Una delle caratteristiche più evidenti del gruppo è l’estrema versatilità delle interpreti, che sembrano muoversi a proprio perfetto agio in ruoli diversi, passando con grande pulizia da un registro all’altro. […] Le voci sembrano procedere con “un cuore e un’anima sola’ […] con un’espressività sempre ben commisurata al carattere del brano. Le interpreti sembrano salire nota dopo nota verso il Paradiso, ed un poco si trascinano dietro l’ascoltatore. […]
Orfeo, mensile di musica antica e barocca


CONCERT REVIEWS

Grande successo per l’esecuzione dei Vespri natalizi. Le ragazze bolognesi ci hanno regalato una serata splendida. Il loro lungo concerto, quasi due ore, è volato via senza cadute di interesse né momenti di noia. […] Quello che colpiva ambito era la buona agilità e la freschezza della declamazione unita ad un’incredibile fusione delle voci. […]
La Padania

I suoni dei monasteri
[…] L’ensemble--veramente pregevole per la fusione raggiunta e nello stesso tempo ricco di spiccate individualità--ha saputo esaltare le caratteristiche delle singole pagine, passando con disinvoltura dall’atmosfera contemplativa […] agli accenti appassionati—ovviamente di una passione tutta mistica […]. Candace Smith ricopre il duplice ruole di cantante e di guida dal gesto efficace e rigoroso.
Maria Rita Tonti, Avvenire


How privileged was the audience that filled St Mary’s on Saturday evening to hear the ladies of Cappella Artemisia. […] From the first notes they sang the tremendous range of each singer was apparent. […] Throughout the rest of the programme the versatility, range and excellent musicianship of the performers became more and more apparent, as did their obvious joy of singing. To create an atmosphere of the sun-drenched cloisters of northern Italy on a damp night in Chard, and to uplift the spirits of all who heard them, is testimony to the skill, artistry and talent of each member of the group. It was a truly wonderful evening.
Richard Barrell, The Chard-Ilminster News

Out of the Cloister
The Cappella Artemisia concert [was] truly wonderful. Not wonderful because the music performed was of considerable historical interest, but because it was immediately delightful, so colorful, so filled with catchy tunes and lively dance rhythms and delectable effects of sound and texture, so directly communicative of emotion […] The level of performance – whether of the individual musicians or of the group as a whole – is extraordinarily high, combining a studious precision with the emotional expressiveness characteristic of all Baroque music, religious or secular, vocal or instrumental. Especially attractive was the individuality of the various voices, which, although (when required) they could blend into a lucid, floating unison, more often contributed the variegated colors (and even the sense of variegated personalities) that brought out the music’s charm, vitality, and humanity. […] If you still don’t think Italian nun music is for you, you would do well to listen to some of the available recordings. You might change your mind – and be the happier for it.
Jonathan Saville, San Diego Reader

Komponieren hinter Mauern: Konzert “Cappella Artemisia mit italiensicher Klostermusik im Forum der Bundeskunsthalle”
Wie man nun staunend zur Kenntnis nahm, sind die Eigenkompositionen Cozzolanis alles andere als schlicht; in den großen achtstimmigen Psalmvertonungen sowie mehreren Motetten, einem Hymnus und einem Magnificat war diese nonne höchst kunst- und formenreich auf der Höhe ihrer Zeit […] Die acht Frauenstimmen zeichneten die verschiedenen Strukturen und Ausdrucksgesten der einzelnen Sätze sehr sorgsam nach, zeigten in Duetten und Ensembles wie vor allem auch im Tutti ganz subtile Reinheit und Klangschönheit. Und auch die vier Instrumentalistinnen verwalteten ihre Parts, die oft durchaus mehr waren als bloßer Continue [..] mit sehr viel Feinsinn.
Barbara Kaempfert-Weitbrecht, Bonner General Anzeiger

Just Among Sisters: In Paris, Cappella Artemisia presents 17th-century music written by and for cloistered nuns.
Even if the acoustic [at the Maison Radio France] had been unflattering, the music would have held up–thanks partly to the performances, whose warmth of expression was underscored by the restrained, homey accompaniment of organ, lute and viola da gamba.
David Patrick Stearns, Andante.com

Aus dem Nonnenkloster: Sehr engagiert: “Capella Artemisia” aus Bologna
Die klaren und offenen, abe unterschiedlich timbrierten Stimmen der Vokalistinnen sorgten für farbenreiches, angeregtes Konzertieren. Zusätzliche Schattierungen steurerte das reich besetze Continuo bei. Eine nicht unanstrengende, aber faszinierende Nachtmusik.
Randolf Jeschek, Musikalische Zeitung

Verboten schön: Musikfestspiele III: Cappella Artemisia
Per Dekret wurde 1633 in den Klöstern Venedigs verboten, das Hohe Lied Salomons zu singen. […] Die exorbitante Anzahl gleichlautender Verbote allerdings scheint zu belegen, dass dieselben nicht wirklich befolgt wurden. Gott sei Dank! Hätte es das Konzert der aus Italien angereisten "Cappella Artemisia" […] nicht gegeben. […] So weltlich, so verboten schön.
weg, Märkische Allgemeine Potsdamer Tageszeitung

Striking Music From the Convent
Being a nun in 17th-century Italy had its fair share of challenges. […] Still, as recounted by Candace Smith, who directs the Italian ensemble Capella Artemisia (based in Bologna), a rich flowering of music stirred within these rigid confines, even in the face of pressure to restrict nuns’ music-making. […] Who knew music by and for nuns could be so exciting?
Joseph Sargent (San Francisco Classical Voice-online)