Giovanni Dell'Arpa (?1530-1602)
Villanella "che all'acqua vai"
Vorria crudel tornare

Giovanni Domenico Nola (?1515-1592)
Fontana che dai acqua- Fuggit’ Amore

Fillippo Azzaiolo (16e siècle-)
Girometta senza te non viverò

Orlando de Lassus (1532-1594)
Matona mia cara
Sto core mio
Madonna mia, pietà
O occhi manza mia

Baldassare Donato (?1525-1603)
Chi la gagliarda

Andrea Falconieri (1586-1656)
O bellissimi capelli
Vezzosette e care pupillette ardenti
Occhietti amati

Villanelles napolitaines du 16ème siècle
Boccuccia d’uno persic’ aperturo
Madonna tu mi fai lo scorrucciato
Tu sai che la cornacchia
Che sia malditta l’acqua
La morte di marito
Oi ricculina
Vurria ca fosse ciaola

Letizia Calandra, soprano
Ensemble Arte Musica
Francesco Cera, direction, clavecin

Au XVIème siècle, à Naples, fut inventé le genre musical spécifique des villanelles napolitaines, lequel influença, de fil en aiguille, l’art du madrigal et de la canzonetta. D’influence populaire, d’une forme poétique très structurée, chaque villanella était généralement écrite pour trois voix accompagnées de diverses percussions, cordes (luths et guitares principalement) et parfois de vents (fifres et flutiaux). L’amour, souvent évoqué sous la métaphore de l’eau omniprésente dans les œuvres retenues ici, en était l’objet essentiel tant il s’agissait de célébrer depuis la rue animée les beautés féminines qu’on y croisait. Francesco Cera et son excellent Ensemble Arte Musica se sont fait une spécialité de ce genre de répertoire. Ils accompagnent une jeune soprano, Letizia Calandra, de formation classique, ayant beaucoup joué le répertoire lyrique baroque avant de se spécialiser à son tour dans des formes vocales baroques plus populaires. On appréciera son absence de vibrato, la plasticité de sa voix, à l’aise dans le haut de sa tessiture, mais peinant légèrement en justesse et tenue sur les notes les plus basses. Un disque sympathique pour découvrir un répertoire méconnu. (Thierry Jacques Collet)

Soprano Letizia Calandra is passionate about the promotion of traditional Neapolitan music. She has already recorded two albums of ‘Classico Napoletano’ repertoire, featuring 19th-century canzone napoletane, but this time she turns her attention to a lesser-known and much older tradition: villanellas. These were 16thcentury songs, set in the Neapolitan dialect by composers aping the lyric traditions of the street or countryside. Featuring bawdy characters and crude themes involving cuckolded husbands, scheming maids or jealous suitors, these light pieces originated from the strong tradition of the ‘rustic fool’ in Naples. Performing on period instruments (including the unusual lirone) that would have been used in 16th-century Naples, Calandra is joined by the early music ensemble Arte Musica, and together they create an authentic portrayal of the fascinating jumble of characters who made up this unique Renaissance city. Letizia Calandra is a firmly established interpreter of Neapolitan music. She comes from a background of Baroque and Renaissance repertoire, having performed in such operas as Ercole amante and Dido and Aeneas. Previous recordings include ‘Scarlatti and the Neapolitan Song’ for Brilliant Classics (BC94488), with Francesco Cera on the harpsichord, a record described as ‘convincing in every respect’ by Music Web International. Cera is a leading specialist of early music in Italy and frequently records for Brilliant Classics. His album of Bach’s Orgelbüchlein (BC94639) was praised for its ‘magnificence’ by Arkiv Music.