VIVALDI Andromeda liberata / Kermes, Marcon

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ANTONIO VIVALDI

Andromeda liberata
Serenata veneziana
Simone Kermes · Katerina Beranova
Anna Bonitatibus · Mark Tucker
Max Emanuel Cencic
La Stagione Armonica
Venice Baroque Orchestra
Andrea Marcon
Int. Release 01 Oct. 2004
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0289 477 0982 4 DDD AH2
ARCHIV Produktion


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CD 1: Vivaldi & others: Andromeda liberata

Antonio Vivaldi (1678 - 1741), Anonymus
Andromeda liberata (Serenata Veneziana)

Venice Baroque Orchestra, Andrea Marcon

Max Cencic, Anna Bonitatibus, Venice Baroque Orchestra, Andrea Marcon

Anna Bonitatibus, La Stagione Armonica, Sergio Balestracci, Venice Baroque Orchestra, Andrea Marcon

Katerina Beranova, Venice Baroque Orchestra, Andrea Marcon

Simone Kermes, Max Cencic, Venice Baroque Orchestra, Andrea Marcon

Simone Kermes, Venice Baroque Orchestra, Andrea Marcon

Max Cencic, Venice Baroque Orchestra, Andrea Marcon

Katerina Beranova, Max Cencic, Venice Baroque Orchestra, Andrea Marcon

Katerina Beranova, Venice Baroque Orchestra, Andrea Marcon

Mark Tucker, Venice Baroque Orchestra, Andrea Marcon

Anna Bonitatibus, Venice Baroque Orchestra, Andrea Marcon

Katerina Beranova, Venice Baroque Orchestra, Andrea Marcon

Simone Kermes, Venice Baroque Orchestra, Andrea Marcon

Katerina Beranova, Venice Baroque Orchestra, Andrea Marcon

Simone Kermes, Venice Baroque Orchestra, Andrea Marcon

Katerina Beranova, Venice Baroque Orchestra, Andrea Marcon

Simone Kermes, Venice Baroque Orchestra, Andrea Marcon

La Stagione Armonica, Sergio Balestracci, Venice Baroque Orchestra, Andrea Marcon

총 재생시간 51:33

CD 2: Vivaldi & others: Andromeda liberata

Antonio Vivaldi (1678 - 1741), Anonymus
Andromeda liberata (Serenata Veneziana)

Simone Kermes, Venice Baroque Orchestra, Andrea Marcon

Mark Tucker, Simone Kermes, Venice Baroque Orchestra, Andrea Marcon

Mark Tucker, Venice Baroque Orchestra, Andrea Marcon

Anna Bonitatibus, Venice Baroque Orchestra, Andrea Marcon

Simone Kermes, Max Cencic, Venice Baroque Orchestra, Andrea Marcon

Simone Kermes, Venice Baroque Orchestra, Andrea Marcon

Simone Kermes, Max Cencic, Venice Baroque Orchestra, Andrea Marcon

Max Cencic, Venice Baroque Orchestra, Andrea Marcon

Anna Bonitatibus, Katerina Beranova, Venice Baroque Orchestra, Andrea Marcon

Katerina Beranova, Venice Baroque Orchestra, Andrea Marcon

Mark Tucker, Simone Kermes, Max Cencic, Venice Baroque Orchestra, Andrea Marcon

Simone Kermes, Max Cencic, Venice Baroque Orchestra, Andrea Marcon

Mark Tucker, La Stagione Armonica, Sergio Balestracci, Venice Baroque Orchestra, Andrea Marcon

총 재생시간 46:40

In addition to his role as harpsochordist/director, Marcon is a specialist scholar who has carefully examined the musical sources which form the nucleus of the orchestra's programmes.

. . . the tuneful Venetian serenade's premiere recording adds to our appreciation of high-end Baroque entertainment, especially in this vibrant performance by a fine
cast of singers and the Venetian Baroque Orchestra . . .

. . . one of the most spellbindingly gorgeous outpourings committed to disc this year.

The recording finds its greatest strength in the playing of Andrea Marcon's Venice Baroque Orchestra. From the Overture's first bars the vitality, technical wizardry and vivid sonorities give consistent pleasure (listen to the singularly transparent string-underpinning for Cassiope's 'Quando chiudere', one of the innumerable ravishing episodes). In each of the many unison phrases with individual singers, the unity of timbres and basic balance of sound are splendid. Marcon clearly is gifted with unusual dramatic flair, and his leadership draws from his cast an involvement quite beyond what one would expect in a work of this sort. The singers leave little to be desired in terms of distinctiveness of timbre or textual communicativeness. One assumes that they engaged in a true collaboration with Marcon to create the da capo ornamentation . . . each possesses sufficient flexibility for this music . . . As Andromeda, Simone Kermes I at an advantage is being able to employ vibrato as an ornament in itself. Her bright, girlish sound manages to give the ingénue unsuspected dimension . . . Katerina Beranova . . . sings coloratura as effortlessly as if playing runs on a piano. Anna Bonitatibus's Meliso revels in wonderfully mellow sound and formidable range, including one staggering Horne-like interpolation . . . The gentlemen are Max Emanuel Cencic (Perseo), a rich-voiced young countertenor of extraordinary promise; and Mark Tucker (Daliso), whose vocal clarity brings every word vividly to the fore, even if the extreme low range (down to B) tests him, as it would any light lyric tenor. Contributing positively, albeit very briefly, is the 20-voice chorus, La Stagione Armonica. The booklet includes recommendation, then, along with a fervent wish to hear more ¿ a lot more ¿ from Marcon and company.

Leave the authorship arguments to the testy experts. "Andromeda" offers an assortment of bold and caressing Baroque pleasures that stand and sing on their own merits.

Andrea Marcon directs with an infectiously joyous brio . . . I enjoyed this set enormously: do try it.

Under the impeccable direction of Andrea Marcon the Serenata is given exceptional advocacy by successful late-baroque specialists, the Venice Baroque Orchestra. Their imaginative performance exudes refinement and controlled power. These new-generation Vivaldi specialists certainly deserve their position as one of the world's most outstanding period instrument ensembles.

The singers are, in fact, a terrific lot, both fluent and dramatic . . . the spotlight here is stolen by the Venice Baroque, whose splendid ensemble and sprightly sound are delightful and astounding by turns. It is not only the virtuosic precision of their playing and the appropriately studied yet natural way they apply legato and détaché; under Andrea Marcon's expert leadership, the orchestra plays with a thrilling sense of timing and direction. Marcon excels.

It is Simone Kermes, suddenly everywhere as the new queen of baroque opera, who dominates things here. Her keenly focussed voice and sure dramatic instincts draw the title character into something like real human personality, while musically she copes brilliantly with the widest range of mood and degrees of virtuosity her role entails . . . In all, this is an attractive performance, not likely to be challenged soon . . .

. . . the performances are as authentic and stylish as one could wish for . . . ¿Andromeda liberata¿ is quite a find, and this premiere recording is not likely to be bettered anytime soon, if at all.

I would be delighted to discover the "Vivaldi" serenata "Andromeda liberata" in my Christmas stocking: Simone Kermes, Anna Bonitatibus and Max Emmanuel Cencic provide thrilling and sensuous dramatic singing; Andrea Marcon and the Venice Baroque Orchestra obviously have a great time playing the music. The sense of fun and adventure that pervades this wonderful recording makes the exaggerated attribution to Vivaldi seem harmless.

In fiery arias like "Lo so, barbari fati", Ms. Kermes demonstrated exceptional technique. But it was in "Madre, lascia ch'io senta in prima il core", an aching, slow-motion aria in which Andromeda struggles to choose between love and duty, that I was swept away by her ability to speak directly to the heart . . .

. . . hier haben wir endlich ein herausragendes venezianisches Originalklang-Ensemble, das noch dazu wirklich spannende neue Geschichten aus der Lagunenstadt zu berichten weiß . . . Die Rezitative . . . werden mit Leidenschaft vorgetragen, jedoch ohne Affektiertheiten und im vollen Verständnis des Texts . . . Vielfältig und plastisch sind die musikalisch-rhetorischen Ideen, die in den Arien stecken . . . und Andrea Marcon arbeitet jede von ihnen glasklar heraus. Und die Sänger? Ach! Ein wunderbar ausgeglichener Cast mit durchweg ungewöhnlich warmen, vollen, beweglichen und dabei zumeist jungen Stimmen, die überzeitlich berührende Empfindungen in die mythologisch verbrämte Polit-Oper zaubern. Sogar bei den Kastratenpartien weiß man nicht, ob man der Sopranistin Anna Bonitatibus mit ihrer herrlich sonoren Tiefe und koloraturstark klaren Höhe den Vorzug geben sollte, oder doch dem Countertenor Max Emanuel Cencic. Der darf zwar nur in zwei getragenen Arien und einem Duett singen. Doch dafür hat er das Privileg, in der einzigen zweifelsfrei authentischen Nummer aus Vivaldis Hand den Gegenpart zur Solovioline (welche die Sonne symbolisiert) abzugeben. Und das tut er mit einer so geerdeten Stärke und Ruhe, dass man in den Mittelsätzen von Vivaldis Violinkonzerten künftig die Gesangsstimme vermissen wird.

Großes Lob

Es gibt Aufnahmen, die eine Wärme ausstrahlen, die nicht allein von der Akustik herrühren kann, sondern auch etwas vom Feuer der Begeisterung vermittelt, das geherrscht haben muss beim Einspielen. Im Falle der Oper "Andromeda liberata" "brannte" dergestalt wohl das von Andrea Marcon geleitete Sänger- und Instrumentalensemble . . . Hervorragend!

Die Titelrolle gestaltet Simone Kermes mit ausgesprochener Kunstfertigkeit. Einmal mehr stellt sie ihre führende Stellung als Spezialistin für Alte Musik unter Beweis. Dagegen noch eine echte Entdeckung für den Plattenmarkt ist der Countertenor Max Emanuel Cencic . . . Ebenso erfreulich die Besetzung der Tenorpartie mit Mark Tucker, der mit einer lupenreinen Männerstimme einen erfreulichen Kontrast zu den dominierenden Frauenstimmen darstellt. Seine Arie der Liebesentsagung ist zweifelsohne ein exponierter Höhepunkt der Serenade. Katerina Beranova und Anna Bonitatibus ergänzen das Ensemble gewinnbringend. Dem heutigen Stil entsprechend wird unter der Leitung von Andrea Marcon ein transparenter Klang vom Venice Baroque Orchestra geboten.

Ob von Vivaldi oder anderen, diese wertvolle Veröffentlichung ist ein Bereicherung in der Diskographie der bis heute unbekannte venezianischen Serenade. Diese abwechslungsreiche Komposition wird in dieser Einspielung mit Überzeugung dargestellt. Der galante Stil wird hier mit Frische und Vitalität von hervorragenden Sängern dargeboten. Eine Interpretation, die Pracht, Wärme und überwiegend Freude ausstrahlt!

. . . eine der bisher hinreißendsten Aufnahmen innerhalb eines Genres, dessen besondere Qualitäten weniger in der Dramatik der Handlung als im kunstvollen Wechselspiel der Affekte liegen. Dieses wissen Marcon und sein vorzügliches Ensemble aufs Schönste freizulegen. Bereits die lebendig vorgetragenen Rezitative, erst recht aber die in die Arien eingefügten Koloraturen und Verzierungen verraten die Lust und Energie, mit der da zu Werke gegangen wird. Dabei versteht es Marcon trefflich, das musikalische Ungestüm nicht zum reinen Selbstzweck werden zu lassen, sondern es stets in den Dienst rhetorischer Verdeutlichung zu stellen.

. . . one of the most fascinating releases to date in a genre whose special qualities are to be found less in dramatic action than in the artistic interplay of emotional states. Marcon and his superb ensemble bring this across most beautifully. In the lively delivery of the recitatives one already is aware of the joy and energy with which they have approached the work, but this is most apparent in the coloratura and ornamentation of the arias. Yet Marcon perfectly well understands that musical excitement must never be an end in itself, rather that it must always be placed in the service of rhetorical elucidation.



Die Stars dieser Aufnahme sind das mit vielen solistischen Aufgaben betraute Venice Baroque Orchestra sowie die Sopranistin Simone Kermes . . . Sie brilliert mit hauchzarten Pianissimi in höchster Lage und mit erstaunlichen messa di voce-Effekten.

En un mot : une réalisation superbe, dominée par l'Andromeda bouleversante de Simone Kermes. Ses récitatifs sont un délice.

Goûtez par exemple l'air avec violon solo «Sovvente il solo» en état de grâce; ici soliste et orchestre sont sur la même longueur d'onde, avec un Max Emanuel Cencic touchant. Une ¿uvre à découvrir pour les nombreuses beautés qu'elle recèle.

La interpretación de la orquesta y de los solistas es formidable, con la excepción de alguna soprano que se excede a mi entender en algún momento. La orquesta dirigida por la muy sabia mano de Andrea Marcon, un gran director del que espero nos queden muchas grabaciones por saborear, suena empastada, sin exageraciones, muy equilibrada. La toma de sonido es excelente y nos hace vibrar por su inmediatez, su presencia y su puesta en escena.

Las prestaciones de la Orquesta Barroca de Venecia y del coro La Stagione Armonica no hacen más que añadir calidad a un registro de más que espléndido sonido. Una rareza envuelta en lujo.

La interpretación de la Orquesta y de los solistas es formidable destacando muy especialmente la protagonista Sinione Kermes en el papel de Andrómeda. ... lo mejor de este álbum es la orquesta, que dirigida por las sabias manos de Marcon puede ser ruda y áspera o delicada como el vuelo de una mariposa ... El empaste de la misma [toma de sonido] es de sobresaliente y la prestación de los solistas, ya digo es de primer orden.

. . . la música de esta serenata . . . es exquisita. No tiene desperdicio . . .
Primicia discográfica a cargo de un especialista en la materia: el clavecinista, organista y musicólogo Andrea Marcon (nueva estrella de Archiv). Todo va sobre ruedas. Agilidad, ligereza, claridad y expresividad se dan la mano en una fiesta continua de profesionalidad y talento . . . Una oportunidad de oro, no se la pierda.

Vivaldi . . . slechts één van de circa twintig aria's heeft geschreven. Het maakt voor de kwaliteit van het werk en de kwaliteit van de opname weinig uit. Heerlijke barokmuziek met in de ouverture 'Watermusic'-achtige klanken en in het openingskoor verwijzingen naar Händel 'Agrippina' . . . Het Venice Baroque Orchestra speelt fraai en de solisten zijn stuk voor stuk de moeite waard.
Andromeda liberata - A Venetian Mystery


With the recording of Andromeda liberata - their début on Archiv Produktion - Andrea Marcon and the Venice Baroque Orchestra have scored a real coup. This is a newly rediscovered, full-concert-length work that languished in obscurity for some 275 years. Usually it's in attics, boxrooms or junkrooms that sensational finds like this one are made. But In the case of Andromeda liberata it was the venerable archive of the Conservatorio Benedetto Marcello in Venice where, in April 2002, the French musicologist Olivier Fourés happened upon the manuscript of an anonymous, early 18th-century serenata.

When a discovery of the magnitude of Andromeda liberata takes place, the reaction is rather like a volcanic eruption. Regarding the work's authorship, the scholarly world is, at least for the time being, divided in its opinion. Fourés has been able to prove beyond doubt that the aria "Sovvente il sole" was written by Antonio Vivaldi and, on the basis of various indications, he has suggested the possibility that the entire work may have been composed by Vivaldi. Nevertheless there is mounting evidence that points to a composite score, a "pasticcio", bringing together pieces by different composers. The renowned Vivaldi specialist Michael Talbot has found unmistakable signs that some of Vivaldi's leading Italian contemporaries - for example, Giovanni Porta and Tomaso Albinoni - were involved in the composition. The pasticcio was a popular form in Baroque music, and an extraordinarily practical one, because it allowed already existing musical pieces to be recycled by assembling them in new combinations.

As for the question, "Was it Vivaldi or not?", the Venice Baroque Orchestra has followed that debate only insofar as it serves the interests of their thrilling recording, about to be issued on Archiv Produktion. Andrea Marcon, the orchestra's founder and director, considers Vivaldi's authorship to be entirely plausible, but his and his musicians' overriding concern has been that of making this exciting, sparkling score accessible to a wider audience. The Baroque sound world here finds ideally sympathetic exponents: the Venice Baroque Orchestra is made up of outstanding instrumentalists who have specialized in the interpretation of early music. After hearing them in concert one London critic declared that it was like hearing Vivaldi's Four Seasons for the very first time. Now, in this recording, posterity actually will be hearing Andromeda liberata for the very first time in over 275 years.

For that we owe a debt of gratitude to musicologist Olivier Fourés. With the meticulousness of a detective, he tracked down the historical facts behind its genesis. The trail led to Cardinal Pietro Ottoboni, who returned to his native Venice on 21 July 1726 after 14 years of political banishment. Ottoboni was a great music lover, and numerous concerts were organized in his honour during the summer and autumn of 1726. It was at one of these concerts that the serenata entitled Andromeda liberata received its first performance.

The questions raised by this spectacular discovery are as fascinating as the serenata itself, the plot of which - in modern terms - could be described as a tale of abduction with a happy ending. It derives from the Greek myth of Andromeda's marriage to Perseus. The fair Andromeda is the daughter of Cepheus and Cassiopeia, rulers of Ethiopia. Queen Cassiopeia's vanity arouses the indignation of the sea-nymphs, who regard themselves as even more beautiful than she is. Revenge comes swiftly: the sea-god Poseidon sends a sea-monster to ravage Ethiopia. In his despair the king asks the oracle how he can save his country, and is told that the only way is to sacrifice his daughter. The young woman is left naked and chained to a rock to be devoured by the sea-monster. Looking down, the young Perseus beholds the princess in her plight. He slays the monster, releases Andromeda and promptly falls in love with her. In gratitude for rescuing her, the royal couple bestow on Perseus their daughter's hand in marriage.

Why should this of all subjects have been chosen for musical setting to celebrate Ottoboni's return? A number of symbolic parallels with political overtones can be drawn. The young Perseus serving as redeemer represents Cardinal Ottoboni, while Andromeda embodies the suffering city of Venice. The antagonist Daliso, an invented character in the composition, could stand for the diplomatic hurdles that Ottoboni needed to overcome in order to return to his beloved native city.

Andromeda liberata, the serenata recorded here, is both a magnificent musical piece of Venice and yet another enigma of this city, which to this day has lost none of its mysterious allure. In the hands of Andrea Marcon and the Venice Baroque Orchestra the work opens a window into the Baroque era - the orchestra's artistic director is a fierce advocate of emotionally charged music making, even, and especially, when the music is Baroque: "Without your own emotion, affetto, and understanding, you are far from the real Baroque. Of course, there's not only one valid interpretation: anyone who believes that idea is absolutely wrong. Even after our years of experience in the field, there is still so much to learn!" And although there is no end to learning, nor any definitive solution yet to the puzzle of Andromeda liberata's authorship, there is one thing that can safely be said: this recording with the Venice Baroque Orchestra is the invitation to an exhilarating musical journey to "La Serenissima".

Ulrike Brenning
7/2004

Andrea Marcon - Biography

Luigi Boccherini (1743–1805)

The Venice Baroque Orchestra’s founder and director, Andrea Marcon, was born in Treviso and received a diploma in early music from Basle’s Schola Cantorum for his organ and harpsichord studies with Jean-Claude Zehnder. Among his other influential teachers are Luigi Ferdinando Tagliavini, Hans van Nieuwkoop, Jesper Christensen, Harald Vogel and Ton Koopman. From 1983 to 1997, he was harpsichordist and organist of the Treviso-based early music ensemble Sonatori de la Gioiosa Marca. He also founded and directed the International Organ Festival ”Città di Treviso”, playing a prominent role in the restoration of the city’s historic organs.

1986

Andrea Marcon wins first prize in the organ competition in Innsbruck.

1991

As a harpsichordist Marcon wins first prize in the Bologna competition.

1997

Marcon founds the Venice Baroque Orchestra with some of Italy’s finest instrumentalists; together they have performed throughout Europe and Japan.

1998

Marcon’s dedication to the rediscovery of Baroque masterpieces leads to the first fully staged performances in modern times of Francesco Cavalli’s opera L’Orione.

2000

Marcon and the VBO give the first fully staged performances in modern times of Handel’s Siroe.

2001

The VBO makes its New York début at Lincoln Center in August; Marcon conducts the orchestra in the first contemporary revival of Cimarosa’s L’Olimpiade at Venice’s Teatro Malibran.

2001/02

They appear in over 35 cities, including New York, Tokyo, Florence, Milan, Munich, Paris, Berlin, Frankfurt, Geneva, Montpellier, Amsterdam, Copen­hagen, Aldeburgh and London.

2002

VBO/Marcon make a rapturously received début at the BBC Proms in August at London’s Albert Hall

2002/03

The VBO under Andrea Marcon make a critically acclaimed 20-concert début tour of the US, followed by appearances in Vienna, Paris, London and Cologne with mezzo-soprano Angelika Kirchschlager. They also perform in cities including Rotterdam, Brussels, Lisbon, Barcelona, Venice, Zurich, Geneva, Munich, Düsseldorf, Lyon and Tokyo.

2003/04

The orchestra and Marcon tour Germany, appear at festivals in Lucerne, Ambronay, Passau and Eisenach, and also perform in Zurich, Geneva, Lyon, Basle, São Paulo and Istanbul. They present concert performances of Han­del’s Siroe in Paris, Hamburg and Metz, and make tours of the US that include Los Angeles’s new Walt Disney Hall, semi-staged performances of Siroe in Berkeley and fully-staged performances of Handel’s opera at the Brooklyn Academy of Music, produced by the acclaimed French-Argentine director Jorge Lavelli. Andrea Marcon also conducts Handel’s Ariodante at the Frankfurt Opera (stage production by Achim Freyer) and gives organ recitals in Milan, Dresden and Seoul.
In January 2004 the VBO and Andrea Marcon make their first recording for Archiv Produktion under their new exclusive contract: Andromeda liberata; the world-première recording of this remarkable Venetian serenata, it will be released as a 2-CD set in autumn.

2004/05

The orchestra’s season will open at the inaugural Venice Music Festival with a performance of Andromeda liberata. To coincide with this occasion, the work’s modern-day première, Archiv Produktion will release the VBO’s new recording of the serenata. Following performances of Andromeda in New York (Carnegie Hall), Boston, Rotterdam, Utrecht, Amsterdam and London, Katia and Marielle Labèque will join Marcon and the orchestra on a North American tour featuring Bach keyboard concertos and Vivaldi sinfonias. The VBO and Marcon will also appear in concert in Metz, Bor­deaux and Munich, among other cities.
Future Archiv Produktion releases will include a collection of Italian violin concertos with soloist Giuliano Carmignola and an album of Vivaldi sin­fonias and string concertos.

7/2004

 

Artists Biographies

Soprano Simone Kermes (Andromeda) studied in her native Leipzig and in masterclasses with Elisabeth Schwarzkopf, Barbara Schlick and Dietrich Fischer-Dieskau, and began her career in 1996 after winning major competition prizes. Her engagements have included the roles of Fiordiligi, Konstanze, Gilda, Lucia, Anne Truelove and Rosalinde in several important German opera houses, while concert engagements have taken her throughout Europe and America where she has appeared with orchestras such as the Leipzig Gewandhaus, Prague Symphony, Dresden Staatskapelle, Il Complesso Barocco, Ulster Orchestra, WDR Symphony Orchestra, Bologna's Teatro Comunale and the Royal Flemish Philharmonic.

The Czech soprano Katerina Beranova (Cassiope) studied in Brno, Vienna and Rome, where she appeared as a concert soloist at the Accademia di Santa Cecilia. In the theatre she has sung at Bayreuth, Dublin and Turin, in Rome (Woglinde and the Forest Bird in the Ring cycle conducted by Sinopoli) and in Washington (Sandrina in La finta giardiniera, conducted by Domingo).

Italian mezzo-soprano Anna Bonitatibus (Meliso) studied in Genoa and made her début in Verona in Vivaldi's Tamerlano. Since then she has won acclaim for her appearances at opera houses throughout Europe, in roles ranging from Licida in Vivaldi's L'Olimpiade, Mozart's Cherubino and Sesto, Rossini's Cinderella and the Marquise Melibea in Il viaggio a Reims, to Stéphano in Gounod's Roméo et Juliette and the Composer in Strauss's Ariadne auf Naxos. She has collaborated with conductors including Chung, Curtis, Jacobs, Koopman, Maazel, Muti, Pinnock, Savall and Tate.

Austrian countertenor Max Emanuel Cencic (Perseo) began his career at the age of six, singing with the Zagreb State Opera and giving recitals in the former Yugoslavia and Spain. He was a member of the Vienna Boys Choir from 1987 to 1992, when he embarked on a career as a male soprano. His performances in opera have included Cupid in Gluck's Orphée et Eurydice at Drottningholm and the title role in Handel's Serse in Copenhagen, both with Musica Antiqua Köln under Reinhard Goebel, and Nerone in Monteverdi's L'incoronazione di Poppea at the Basle Opera under Konrad Junghänel.

Of Anglo-Venetian parentage, tenor Mark Tucker (Daliso) has won particular notice in Italian Baroque and Classical repertoire. He has sung the title role in Monteverdi's Orfeo at the Queen Elizabeth Hall (with Pickett) and the 1610 Vespers at the Salzburg Festival (with Harnoncourt) and San Marco in Venice (with Gardiner), as well as Orfeo at the Bruges Festival, Barcelona's Liceu and Mantua's Palazzo Ducale, Nerone in L'incoronazione di Poppea and Eurimaco in Il ritorno d'Ulisse for Netherlands Opera, and Telemaco in Boston Baroque's production of Ulisse. Further opera appearances have included Sydney, Brussels, the Paris Châtelet and Covent Garden, and he has sung in concert with the Philadelphia Orchestra, BBC Symphony, London Symphony, Gabrieli Consort and London Mozart Players.