Max Emanuel Cencic / Armonia Atenea / George Petrou HANDEL Arminio

A number of recent DECCA recordings of Baroque repertory have benefited from the playing of Armonia Atenea and the conducting of George Petrou, but their work in this "Arminio" sets new standards for performances of Händel's operas . . . the orchestra's efforts serve as a catalyst to the opera's drama, not just an accompaniment . . . a whirring, invigorating performance that honors the best elements of historically-informed performance practices without compromising listeners' enjoyment with the acerbic sounds, faltering intonation, and exaggerated rhythms that constitute the worst aspects of period-appropriate methods . . . The singers truly perform the opera: in recitatives, here rendered as engagingly as on any recording of a Baroque opera, they seem to listen to one another, something that too few singers bother to do even in staged performances. Whether the music being sung is by Händel or Henze, opera is a team sport. With Max Emanuel Cencic and George Petrou as its co-captains and a team of all-stars playing all positions, this "Arminio" never misses an opportunity to score. (Joseph Newsome)

Franco Fagioli / Armonia Atenea / George Petrou ROSSINI

Berlin, 2 July 2015. Franco Fagioli, acclaimed worldwide for his captivating artistry and beguiling vocal agility, has become the first countertenor ever to sign an exclusive recording deal with Deutsche Grammophon. The singer’s new relationship with the Yellow Label, announced in Berlin yesterday, reflects his status as one of the brightest stars of Baroque and early 19^th-century bel canto opera. Recent reviews of the Argentinean-born artist’s work confirm his place among the finest performers of our time: Forum Opera, for example, has praised Fagioli as “today’s greatest countertenor: subtle, sensitive and virtuosic”. His extensive and constantly evolving repertoire includes everything from works by Monteverdi and Frescobaldi to Mozart and Rossini.

Earlier this year Franco Fagioli teamed up with a fine cast, including sopranos Malin Hartelius and Emmanuelle de Negri, to make a live recording of the original version of Gluck’s revolutionary opera Orfeo ed Euridice, first performed in Vienna in 1762. They were joined by the period-instrument orchestra Insula and chamber choir Accentus under Laurence Equilbey’s direction. Orfeo ed Euridice, set for international release on 11 September, marks Fagioli’s first complete recording of an operatic title-role and the first appearance of the original Vienna version of Gluck’s masterwork on Deutsche Grammophon’s Archiv Produktion.

Famed for his three-octave range, technical command and charismatic stage presence, Franco Fagioli studied singing at the Superior Art Institute of the Teatro Colón in Buenos Aires. He made his career breakthrough in 2003 as winner of the “Neue Stimmen” International Singing Competition and has since achieved distinction as a concert artist and on the opera stage, appearing with conductors of the calibre of Rinaldo Alessandrini, Gabriel Garrido, Nikolaus Harnoncourt, Marc Minkowski and Riccardo Muti. Fagioli made his debut at the Salzburg Whitsun Festival in 2007, with Muti, who immediately invited him to perform again the following year. He made his first appearance at the Summer Festival in 2012, as Andronico in Tamerlano, under Minkowski. In 2014, he made his debut at the Royal Opera House, Covent Garden, as Idamante in Mozart’s Idomeneo. 

“It is a great honour to work with Deutsche Grammophon,” comments Franco Fagioli. “I am delighted with Orfeo ed Euridice and look forward to many other projects in the future.”

Ute Fesquet, Vice President Artist and Repertoire of Deutsche Grammophon, welcomed Fagioli to the Yellow Label. “Franco Fagioli’s extraordinary voice can dazzle, delight and move listeners to tears. He takes a special place in our family of artists not only as DG’s first ever countertenor but also as a performer of the highest calibre.” (Deutsche Grammophon)

George Petrou / Armonia Atenea BEETHOVEN Prometheus

Rejecting academic coolness, Armonia Atenea, under the baton of conductor George Petrou, injects dramatic energy and bright colour to Beethoven’s bold ballet score. Beethoven’s ballet music was written in 1801 (between the First and Second symphonies) and the theme from the overture provided the subject for the finale of the Eroica Symphony and Eroica Variations Based on the Greek fire-stealing myth, the story of The Creatures of Prometheus is conveyed with music full of drama and verve, but was the only ballet score that Beethoven wrote.
Armonia Atenea and George Petrou’s Decca recording of Handel’s Alessandro has received numerous accolades including the Stanley Sadie Handel Recording Prize, the ‘Complete Opera CD of the Year Award’ at the International Opera Awards, a nomination for the Opera of the Year by viewer of Mezzo TV, as well as being singled out by Classica, Diapason, Fono Forum and the BBC Music magazine.
“For all the star quality, the performance remains a supremely ensemble effort, singers and instrumentalists striking sparks off each other under the energised and energising musical direction of George Petrou.” BBC Music magazine