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Cantates baroques napolitaines. Dorigo, Ledda, Catania, Morelli.
Format : 1 CD
Total Time : 00:52:38

Recording : 14-15/02/2018
Location : Rome
Country : Italie
Sound : Studio / Stereo

Label : Brilliant Classics
Catalog No. : BRIL95778
EAN : 5028421957784
Price Code : DM011A

Publishing Year : 2019
Release Date : 06/03/2019

Genre : Classical
Johann Adolf Hasse (1699-1783)
Cantate "Passa da pena in pena", pour voix seule et flûte
Passa da pena in pena
Dunque che far dovrai
Sospiri del moi seno

Giuseppe Porsile (1680-1750)
Extraits du drame musical "Il ritorno di Ulisse alla patria"
Air avec flûte "La costanza con amore"
Air avec flûte "È prigioniero questo mio core"
Air avec flûte "Ho visto al pianto mio"

Nicola Antonio Porpora (1686-1768)
Cantate avec flûte "Freme il mar e col sussurro"
Freme il mar e col sussurro
Fileno abbandonato
La pastorella lascia la villa

Francesco Mancini (1672-1737)
Cantate "Fili mia, tu infedele", pour contralto et flûte

Antonello Dorigo, contreténor
Giuseppina Ledda, flûte
Fabio Catania, viole de gambe
Pierluigi Morelli, clavecin

Au début du XVIIIe siècle, Naples possédait quatre conservatoires au sein desquels des maîtres respectés formaient chaque année une véritable armée de chanteurs, instrumentistes et compositeurs. La réputation de ces conservatoires s’étendait bien au-delà des frontières italiennes et attirait de nombreux étudiants. La musique vocale destinée au théâtre occupait une place très importante et on possède donc de nombreuses cantates ou airs d’opéra composés dans ce cadre. Le contre-ténor Antonello Dorigo, la flutiste Giuseppina Ledda, le gambiste Fabio Catania et le claveciniste Pierluigi Morelli, ont ainsi composé un florilège napolitain. On y trouve quatre cantates composées respectivement par Johann Adolf Hasse, Nicola Antonio Porpora, Francesco Mancini et un auteur anonyme, ainsi que trois airs de l’opéra de Giuseppe Porsile "Il ritorno di Ulisse alla patria". La diversité des compositeurs et des œuvres, n’empêche malheureusement pas une certaine uniformité, due en partie à un léger manque d’engagement passionné. La voix d’Antonello Dorigo est, de plus, un peu aigre et fait plutôt pâle figure. L’intérêt de cet enregistrement semble donc essentiellement historique et documentaire. (Emmanuel Lacoue-Labarthe)

The works in this collection attest to the high standard of music-making in Naples. The composers here recorded were at the forefront of the achievements of Neapolitan music in the first half of the 18th century, the golden age of music production in the southern Italian centre. And the Neapolitan style at this time was fashionable beyond the borders of Italy, as well. Among all the composers presented, only Mancini lived and worked almost all his life in Naples. The others spent their lives travelling or serving foreign courts. This programme exploits the felicitous pairing of the voice with flute, two instruments similarly tied to the expressivity of human breath. Throughout this programme a baroque transverse flute, or ‘traverso’, is used, either called for specifically or substituted for the recorder. When these pieces were written the two types of flute still existed alongside each other as equals, as they had done for centuries before the transverse variety began to dominate later in the 18th century. Use of the viola da gamba for the bass part also finds justification in Naples. While in Rome the instrument had almost completely disappeared by the first half of the 17th century, it endured in Naples and continued to be used. Several mid-18th-century viole da gamba, preserved to this day, in various sizes by luthiers from the Neapolitan Gagliano family attest to the much later persistence of this instrument in that area. Nicola Antonio Porpora was one of the most appreciated composers and teachers from Naples. He taught singing and composition in Venice and Naples, and his ability to set the Italian language to music was internationally celebrated. His cantata Freme il mar e col sussurro exists in two manuscript versions, housed at Naples and Rome, respectively. The latter, performed here, is pitched a third lower and probably intended for the transverse flute. Principal among Porpora’s students were Johann Adolph Hasse and Joseph Haydn. Hasse’s great experience is highlighted in the cantata Passa da pena in pena, which calls specifically for a transverse flute despite the chosen key being among the most challenging for the instrument. Francesco Mancini, an organist, exploits the pastoral features of the flute in the final aria of his Filli mia, tu infedele. Here the called-for recorder is substituted with traverso, as it is in the anonymous, yet expertly composed Non lasciarmi o bella speme. Giuseppe Porsile, Porpora’s fellow-student under Gaetano Greco, became Director of the Royal Chapel of Barcelona in 1706 and then in 1711 moved to Vienna to serve the Austrian Empress Wilhelmina Amalia, where in 1720 he was appointed Court Composer. However his early opera Il ritorno di Ulisse alla patria was premiered in Naples in 1707 and would become his most successful work. A collection of chamber arias for voice with solo instrument and bass, excerpted from this opera and intended for the amateur public, was published that same year. Of those offered here “La costanza con amore” calls specifically for flute, while the other two feature unspecified solo parts nevertheless well suited to the instrument.

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