Jakub Józef Orliński

To listen to this show, you must first LOG IN. If you have already logged in, but you are still seeing this message, please SUBSCRIBE or UPGRADE your subscriber level today.

Program: #22-17   Air Date: Apr 25, 2022

The brilliant Polish countertenor has specialized in early Baroque repertoire and often features world-premiere pieces; we sample three of his recordings.

NOTE: All of the music on this program features the performances of Jakub Józef Orliński. For complete information:


I. Anima Sacra (Warner/Erato CD 0190295633745)

This release, Anima sacra, marks a number of firsts. It is the debut album from countertenor Jakub Józef Orliński – born in Poland, trained at the renowned Juilliard School in New York and winner in 2016 of the Metropolitan Opera's prestigious National Council Auditions. It also features what are believed to be world premiere recordings of eight Baroque arias, notably by composers of the Neapolitan school.

“Baroque style is about freedom and passion,” says Orliński. “There are lots of rules of style to follow, but there are also so many choices to make, starting with ornamentation that you can do in so many different ways. With those ornaments, you can show your creativity, but also get even deeper into the piece and show your artistic persona. It can all be filtered by your own life experiences, which will inspire your choices.”

Warsaw-born Orliński, who has been praised by the New York Times for combining “beauty of tone and an uncommon unity of colour and polish across his range”, comes from a family in which, as he says, “almost everyone is a painter, architect, graphic designer or sculptor”. He began singing in choirs and became a particular fan of the British male vocal ensemble The King’s Singers, which, significantly, has always featured two countertenors. Before completing his studies at Juilliard, he took a Master’s degree in Vocal Performance at Warsaw’s Fryderyk Chopin University of Music and became a member of the young artists’ programme of the Polish National Opera.

From OperaWire.com: Many young singers, especially in the baroque repertoire, tend to choose dependable crowdpleasers when making their debut CD. “Lascia ch’io pianga” and “Ombra mai fu” appear with such ubiquity it seems almost sinful not to include them.

Polish wunderknabe countertenor Jakub Józef Orliński’s first major release for Erato/Warner Classics courageously breaks the mold. There are so many exotic rarities and forgotten treasures, that Orliński is akin to a musical Count of Monte Cristo dazzling his listeners with a vocal cornucopia of precious jewels. Of the 23 tracks, no less than 17 are world premiere recordings. Such originality reflects Orliński’s uniqueness as an artist – the handsome young Juilliard alumnus is not just a celebrated singer but also a highly accomplished break-dancer.

Orliński graciously gives credit to his musicologist colleague Yannis François for having discovered these long-lost masterpieces and François’ excellent sleeve notes are illuminating. The whole project was more than 18 months in the making. It was certainly worth the effort. The album is entitled “Anima Sacra” which is usually translated as “sacred soul” but can also mean “sacred breath.” Given the singer’s celestial vocal color, the latter is much more appropriate. Orliński’s pristine Latin diction deserves magna cum laude.

The CD is primarily focused on the early 18th century Neapolitan-school of composers, particularly Francesco Nicola Fago (1677-1745). Due to his sobriquet of “Il Tarantino,” Fago was presumably small in stature, but the quality of his compositions as revealed in more than half the tracks on “Anima Sacra” is anything but puny. Another five forgotten Neapolitan-school composers are represented but this CD is light years away from being a boring academic exercise into recherché Baroque esoterica.

Whilst “Anima Sacra’s” most obvious appeal is the renaissance of so many bygone musical bijoux, it is the superb musicianship of both soloist and orchestra which makes the recording so rewarding. Chapeau to Maxim Emelyanychev and Il Pomo d’Oro who show they can work as impressively with a young Polish countertenor as accompanying a diva assoluta such as Joyce DiDonato. Adding the placid organ to his usual role of pounding the hell out of the cembalo, Emelyanychev brings infectious vitality to the recording without compromising performance precision and invariably ignites his ensemble of hyper-energized musicians.

There are some very minor criticisms of what is otherwise a superb CD. The first is that occasionally Orliński’s delivery is so carefully controlled there is a slight decrement in spontaneity which is odd considering how uninhibited and exuberant the young countertenor is on stage. Secondly, except for instrumental passages, the prodigiously gifted Pomo d’Oro players are not given anything approximating equal prominence in the overall sound mix. Miking is extremely close-in on Orliński which is wonderful for vocal acuity but limits the overall impact of the ensemble. A final niggardly observation is that two of the short recitatives of less than a minute are allocated their own tracks, which is structurally unsatisfactory and aesthetically disconcerting.

Things get off to a gentle, almost celestial start with Fago’s “Alla gente a Dio diletta” which is far from the flashy attention grabber with which many new offerings would open. There is delicate lute playing from Luca Pianca supporting Orliński’s elegant vocal line which is impeccably phrased with a seamless legato cantabile and Cicero-certified Latin diction. The countertenor’s translucent empyrean singing could have inspired Handel’s “Let the bright Seraphim.”

Track three brings superbly biting syncopated marcato strings leaping into “Memoriam fecit mirabilium suorum” which again displays Orliński’s exemplary breath control on words such as “annuntiabit” and “veritas.” The opening à capella melissma on “Memoriam” is splendid and “et miserator” particularly plangent. The concluding rallentando on “veritas et judicium” is superbly judged.

The brisk “Fidelia omnia mandata ejus” track (2:46 minutes) is especially memorable for the raw and raspy horn interjections by Egon Lardschneider and Michael Pescolderung. Orliński’s fabulously even runs, sparkling trilling, cavernous chest notes and pungent articulation of the word “facta” are spell-binding. The dramatic crescendo embellishment of “testimentum” is bravura Baroque singing at its finest.

Fago splits the ninth verse of the Clementine vulgate Psalm 110 to reveal even more fury afoot in the “Sanctus et terribile” and with the skill of a master alchemist, Orliński adds enough metal to his voice to sound like a wrathful Alceste in “Divinités du Styx.” The octave jump on “Sanctus” is deadly accurate and “Terribile” truly terrible. Rhythmic coordination between ensemble and singer is fierce and flawless and Emelyanychev’s strings have a piranha-ish bite which devours the relatively short track.

“Initium sapentiae timor Domini” is the shortest of the Fago selections coming it at just 1:18 minutes. The emphatic 4/4 marcato beat in strings and lute are plucky and puissant and Orliński’s exquisite trilling on “sapientiae” and “Domini” worthy of Sutherland in her prime. Fago again splits the verses of the Psalm and the allegro agitato “intellectus bonus omnibus” makes up Track seven. Orliński’s florid roulades on “saeculum saeculi” are again impeccable, this time with the added impact of the presto tempo. The semi-tone minor key resolution on “Gloria” is especially effective. The full force of the Pomo d’Oro players is on plenteous display in the rollicking doxology “Sicut erat in principio.” Horns are heroically emphatic and Orliński’s roulades and breath control nothing short of miraculous. Rarely has an “Amen” sounded so convincing.

One of the few composers featured on “Anima Sacra” who can also be found on extant commercial recordings is Johann David Heinichen (1683-1729). In contrast to Reinhard Goebel’s heavy-handed reading of “Alma Redemptoris Mater” with Musica Antiqua Köln, Emelyanychev directs the Golden Apples with a stately Allemande-ish elegance observing the correct larghetto markings. Orliński’s opening à capella embellishment of “Alma mater” is truly arresting and sung with peerless precision. The two bar semi-quaver roulades on “maris” are delivered with Orliński’s customary superlative breath control and grace notes are con grazia ottimale. The tempo change to adagio brings some ferocious double octave downward scale passages from the strings leading to the “tu quae genuisti” accompanied recitative which evinces Orliński’s perceptive word coloring and masterful melissmatic technique. A slight oddity was the termination of the track on “Virgo prius ac posterius” without cadence or resolution.

“Gabrielis ab ore” in 3/8 time which follows on track nine was notably abrupt, affecting the musical continuity. Orliński’s alternation of forte and piano on “Ave” is especially effective and his nuanced word painting in the surprising chromatics on “peccatorum” was Petrarchian poetry.

The middle tracks of the CD presented more world premieres from the Nicola Fago motet “Tam non splendet sol creatus” which seems to have become the hit of the album. There is immense energy in both vocal performance and orchestral accompaniment and the allegro roulades and embellishments are dazzlingly without sacrificing taste or intonation. The long fermata on “ah” before the da capo is ravishing. The softly lilting quasi-Chistmas carol “Dum infans iam dormit” again reveals Orliński’s gorgeous cherubim vocal color although curiously his intonation on the final F- natural seems to sag. The “Alleluia” is another paragon of vocal pyrotechnics, with virtuoso orchestral accompaniment abetting Orliński’s prodigious vocal prowess climaxing with a superb trill.

Inclusion of “Laudamus Te” by Domenico Sarro (1679-1744); “Judex ultionis” by Francesco Feo (1691-1761) and Gaetano Maria Schiassi’s (1698-1754) “L’agnelletta timidetta” add to the recondite potpourri. The latter has a bitter-sweet lilting melody with long dotted-rhythm phrases, dramatic leaps, fugal instrumental entries and desolate diminished harmonies affecting Orliński’s deeply moving reading. In giving outstanding interpretations to these three contrasting arias, the countertenor makes a convincing case for bringing these composers out of the Baroque deep freeze – e subito.

In contrast, a large amount of music by Jan Dismas Zelenka (1679-1745) has already been recorded and at nearly 12 minutes, the Czech composer gets the longest track on the album, reflecting the high regard in which he was held by Bach, Telemann, and, much later, Smetana. The recitative and aria “Smanie di dolci affetti/S’una sol lagrima” reveal his original harmonies and intricate counterpoint. Like Fago’s “O nox clara,” the decision to record the recitative as a single track is debatable. Wind accompaniment was particularly beguiling and bubbling bassoon obbligato by Andrea Bressan worthy of accolades. Orliński relishes the ornamentation on “quanto contento” which is pertly piquant. There are excellent changes of dynamics and deft diminuendi during the finely spun long phrases.

Johann Adolf Hasse was not only a favourite of Empress Maria Theresa and Metastasio but even hyperbolically described as “il padre della musica”. “Mea tormenta, properate!” from his sacred oratorio “Sanctus Petrus et Sancta Maria Magdalena” is an absolute show-stopper and Emelyanychev literally pulls out all the stops in a wild, almost manic performance of the most dramatic track on the CD.

Hasse leaves few markings in the autograph score other than “allegro di molto” but the young Russian conducts with plenty of “whips” although mercifully less “slaughter.” As a result there is much less circumspection in Orliński’s interpretation with some really exciting runs verging on the corybantic. The octave leaps are electrifying, scale passages immaculate and trills razor sharp. “Mori, O Deus, in te” is beautifully phrased in the refulgent top register. The middle lento section change to ¾ on “Jesu mi” provides a timely lyric contrast. Orliński’s word coloring on “serena” is seductive and the leggere embellishments on “cruce” and “paean” exquisite. The three bar crescendo fermata on “Jesu care” is so solidly pitched in the absolute epicenter of the note it’s almost ethereal. The à capella low B-flat chest note on “voca” before the da capo is sepulchral and the following extended trill on “me” superbly clean and perfectly paced. Il Pomo d’Oro re-detonate more frenetic fireworks and feverish bowing is so vehement it seems the strings could implode at any moment. It is sensational.

“Anima Sacra” finishes with an aria for contralto by Francesco Durante (1684-1755) “Domine Fili Unigenite.” For a supposedly ecclesiastical work, the syncopated giocoso rhythms and heavy buffo string marcato underpin a heady allegro florid vocal line which Orliński tosses off with the sparkle and panache of “Fin ch’han dal vino.”

The cover and inside notes of the CD feature photos of a serious, bare-chested Orliński oddly reminiscent of Joyce DiDonato in her “War and Peace” pastiche. Although appealing to many sensually susceptible CD buyers, this kind of scatological Yuja Wang/Lola Astanova marketing is disgracious and redundant. A serious, accomplished young singer such as Orliński doesn’t need a beefy bare chest and perfect pectorals to boost his CD sales. Erato is acting more like “Erotica” and with such a cover photograph, “Anima Sacra” would be better entitled “Corpus mirabilis.”

That said, one doesn’t need to evoke a latter-day Sybil to predict this CD will reap bounteous awards. And justifiably so.


Il Faraone sommerso
"Alla gente a Dio diletta"
Nicola Fago; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
Confitebor tibi Domine
I. "Confitebor tibi Domine"
Nicola Fago; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
II. "Memoriam fecit - Escam dedit"
Nicola Fago; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
III. "Fidelia omnia mandata ejus"
Nicola Fago; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
IV. "Sanctum et terribile"
Nicola Fago; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
V. "Initium sapentiae timor Domini"
Nicola Fago; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
VI. "Intellectus bonus omnibus - Gloria"
Nicola Fago; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
VII. "Sicut erat in principio - Amen"
Nicola Fago; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
Alma Redemptoris Mater, S. 22
I. "Alma Redemptoris Mater"
Johann David Heinichen; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
II. "Tu quae genuisti"
Johann David Heinichen; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
III. "Gabrielis ab ore"
Johann David Heinichen; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
Dixit Dominus
"Donec ponam"
Domènec Terradellas; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
Tam non splendet sol creatus
I. "Tam non splendet sol creatus"
Nicola Fago; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
II. "O nox clara?"
Nicola Fago; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
III. "Dum infans iam dormit"
Nicola Fago; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
IV. "Alleluia"
Nicola Fago; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
Messa a 5 Voci in F
"Laudamus te"
Domenico Sarro; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
Dies irae
"Juste Judex ultionis"
Francesco Feo; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
Gesù al Calvario, ZWV 62
"Smanie di dolci affetti ... "
Jan Dismas Zelenka; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
"S'una sol lagrima"
Jan Dismas Zelenka; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
Sanctus Petrus et Sancta Maria Magdalena
"Mea tormenta, properate!"
Johann Adolf Hasse; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
Maria Vergine al Calvario
"L'agnelletta timidetta"
Gaetano Maria Schiassi; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev
Messa a 5 voci
"Domine Fili unigenite"
Francesco Durante; Jakub Józef Orliński; Il Pomo d'Oro; Maxim Emelyanychev

II. Facce d’amore (Warner/Erato CD 0190295423384).

From Classical Review: Following countertenor Jakub Józef Orliński’s previous album, programmed around a single theme of sacred arias (“Anima Sacra”, 2018), this album uses the same group of musicians and main collaborator, musicologist Yannis François. The current release examines the theme of a male lover in the Baroque era.

Comparing the two albums, it’s clear Orliński’s voice has evolved. He is still supremely lyrical even in the most turbulent of arias, yet his voice now shows deeper shades as well as superb control over his falsetto and vibrato. That, along with his inherent feel for tempo and clear Italian diction, make for a highly enjoyable listen throughout.

Highlights are many, but pointing out just two particularly impressive arias, listen to Giuseppe Maria Orlandini’s “Che m’ami ti prega” (track 10), a world premiere recording that showcases Orliński’s control over all registers. Handel’s “Pena tiranna” from “Amadigi di Gaula” (track 11) is not the first recording of this fabulous aria, but it’s now the best in the catalog. It finds Orliński attentive to every harmonic change and in tight collaboration with the woodwinds of Il Pomo d’Oro under Maxim Emelyanychev.

Indeed, the orchestral accompaniment has a lot to do with the success of this release; at last, the string section is big enough to give ample support, and the rest of the ensemble shows great affinity to the music and their soloist. Emelyanychev’s playful continuo adds to the spontaneity of the performance.

Seven out of the 18 tracks in this album are debut recordings, carefully selected by Orliński and François. Those are intelligently spaced around better-known pieces and composers, including Handel and Cavalli. The aria that closes the album, interestingly, was written for Farinelli by a Johann Adolf Hasse.

Good recording quality too, intimate and close enough to allow hearing the sang texts but also atmospheric enough not to sound clinical. This is a must for any baroque lover. Orliński is clearly a rare talent, and I for one can’t wait to see and hear what he does next.


  • La Calisto, opera: Act 3. Scene 1: Recitative. Erme e solinghe cime .
    Act 3. Scene 1: Recitative. Erme e solinghe cime ... Lucidissima face
  • Eliogabalo, opera: Act 3. Scene 5: Aria. Chi scherza con Amor
    Act 3. Scene 5: Aria. Chi scherza con Amor
  • Claudio Cesare, opera: Act 2. Scene 1: Sinfonia
    Act 2. Scene 1: Sinfonia
  • Claudio Cesare, opera: Act 2. Scene 1: Aria. Crudo amor, non hai pietà
    Act 2. Scene 1: Aria. Crudo amor, non hai pietà
  • La Nemica d'Amore fatta Amante, serenata à 3: Sinfonia
  • La Costanza non gradita nel doppio amore d'Aminta, serenata for 3 voices & orchestra: Aria. Infelice mia costanza
    Aria. Infelice mia costanza
  • Il Pirro e Demetrio, opera ("La forza della fedeltà"): Act 2. Scene 10: Aria. Fra gl'assalti di Cupido
    Act 2. Scene 10: Aria. Fra gl'assalti di Cupido
  • Agrippina, opera, HWV 6: Act 2. Scene 5: Accompanied Recitative and Aria. O
    Act 2. Scene 5: Accompanied Recitative and Aria. Otton, qual portentoso fulmine...
  • Agrippina, opera, HWV 6: Act 2. Scene 5: Accompanied Recitative and Aria. V
    Act 2. Scene 5: Accompanied Recitative and Aria. Voi che udite
  • Nerone, opera: Scene 3: Aria. Che m'ami ti prega
    Scene 3: Aria. Che m'ami ti prega
  • Amadigi di Gaula, opera, HWV 11: Act 2. Scene 5: Aria. Pena tiranna
    Act 2. Scene 5: Aria. Pena tiranna
  • Muzio Scevola, opera, Act III, HWV 13: Act 3. Scene 7. Spera, ché tra le care gioie
    Act 3. Scene 7. Spera, ché tra le care gioie
  • Orlando, opera, HWV 31: Act 2. Scene 11: Accompanied Recitative and Aria.
    Act 2. Scene 11: Accompanied Recitative and Aria. Ah stigie larve! ... Vaghe pupille
  • Scipione il giovane, opera: Act 3. Scene 4: Aria. Dovrian quest'occhi piangere
    Act 3. Scene 4: Aria. Dovrian quest'occhi piangere
  • Ballo dei Bagatellieri, intermezzo ballet (for Conti's "Don Chischiotte in Sierra Morena")
  • Don Chisciotte in Sierra Morena, opera: Act IV. Scene 6: Aria: Odio, vendetta, amore
    Act IV. Scene 6: Aria: Odio, vendetta, amore
  • Scipione il giovane, opera: Act 1. Scene 12: Aria. Finche salvo è l'amor suo
    Act 1. Scene 12: Aria. Finche salvo è l'amor suo
  • Orfeo, pasticcio opera: Aria. Sempre a si vaghi rai
    Aria. Sempre a si vaghi

III. Anima Aeterna (Warner/Erato CD 01902967439000).

From Classical Review: Jakub Józef Orliński’s third solo album continues a partnership with Il pomo d’Oro (this time led by guest conductor Francesco Corti) and musicologist Yannis François. The first two recordings, which have met with almost universal acclaim, feature Baroque repertoire, some of it well-known, along with several world premieres. The same approach is readily apparent here. There is also a wonderful sense of collaboration, Orliński and orchestra joined by a choir and soprano Fatma Said.The recital opens with a riveting performance of Zelenka’s “Barbara, dira, effera.” Written for castrato Domenico Annibali, newly arrived at the Dresden court, this music is a virtuosic tour de force for both soloist and orchestra. Orliński interpretation is boldly dramatic, with expertly sung coloratura. The music’s wide angular leaps are dispatched with unerring accuracy and impeccable tuning. Moreover, both orchestra and soloist create a thrilling immediacy that grabs the listener and never lets go. This is writing meant to showcases brilliant technique, and Orliński makes it seem almost easy – a brilliant opener.

Fux’s “Non t’amo per il ciel” follows, and offers a completely different experience, giving us an opportunity to luxuriate in Orliński’s finely spun legato. His lush tone and superb breath control are used to fully express the emotion of each phrase. “Laetatus sum,” also by Zelenka, was written for soprano, alto and orchestra. Here Orliński partners with Fatma Said, recent winner of the Opus Klassik “Young Artist of the Year” award for her debut album “El Nour” (see our review here). They are well matched in vocal color and weight, and they are particularly beautiful in capturing the desire for peace expressed in the motet’s third movement (Rogate, track 7). While not as overtly showy as the previous motet, this music still has several technical challenges, which both singers have fully mastered (for example, listen to how effortlessly Said handles the high tessitura of the motet’s second movement).

Bartolomeo Nucci’s aria “Un giusto furore” is one of two world premieres on the album. Musicologist Yannis François believes this may well be the first time any of Nucci’s music has been recorded. The aria is a stirring joust between trumpet and voice – it could not receive better advocacy than the performance heard here. Surely Nucci is a composer whose music deserves to be heard.

The other premiere, Gennaro Manna’s “Laudate pueri,” is a substantial, almost 20-minute motet for alto, choir and orchestra that looks forward to the early church music of Haydn and Mozart. Orliński’s willingness to record repertoire in which he is a first among equals is notable and delightful; there is a palpable sense of joy and commitment to the performance that again shows this music in the best possible light.

Indeed, a key ingredient to the success of this recording (as well as the two previous albums) is the orchestra. Unlike many period bands that strive for a refined and blended sonority, Il Pomo d’Oro positively revels in the heterogenous, ripe and plummy timbre of their instruments. Throughout the recital there are several moments of solo orchestral playing: the trumpet solo mentioned above, or the fabulous bassoon playing heard in the opening track. Solo work always has plenty of character, while the ensemble offers sensitive, nuanced accompaniments that give Orliński all the room he needs to shape the music with an almost improvisational freedom. Sample how well these forces work together in the gorgeous aria “Giusto Dio” (track 11), the orchestra heightening and enriching Orliński’s emotive, deeply felt performance. In short, the orchestra is fully integral to the textual and emotional expression of each selection.

Orliński’s introductory note is as passionate and enthusiastic as his singing, and the liner notes by Yannis François are informative and engaging. Erato’s sound is excellent, its immediacy allows for plenty of clarity, but there is enough room ambiance to add warmth to the overall sound. Eighty minutes of riveting music making: we can only hope that these forces will partner again for further explorations of Baroque repertoire. Urgently recommended.


Jan Dismas ZELENKA (1679-1745)
1-3. Barbara, dira effera, motet for alto & orchestra, ZWV 164 (c. 1733) [15:28]
Johann Joseph FUX (1660-1741)
From oratorio Il Fonte della salute, K. 293 (1716)
4. Aria: Non t'amo per il ciel [8:30]
Jan Dismas ZELENKA
5-10. Laetatus sum, motet for soprano, alto & orchestra, ZWV 90 [20:58]
Francisco António de ALMEIDA (1702-1755)
From oratorio La Giuditta:
11. Aria: Giusto Dio [7:45]
Bartolomeo NUCCI (c. 1717- c.1749)
From oratorio Il Davide trionfante:
12. Aria: Un giusto furore che m'arde nel core* [5:52]
Gennaro MANNA (1715-1779)
13-17. Laudate pueri, motet for alto, choir & orchestra* [17:05]
George Frideric HANDEL (1685-1759)
Antiphon in D minor, HWV 269 (c. 1747):
18. Alleluja, Amen [4:33]

World premiere recordings*