ALESSANDRO SCARLATTI Serenate a Filli Roma, 1706
La Risonanza Fabio Bonizzoni
GCD 921511 1 CD – digipak
La RisonanzaFabio Bonizzoni
Emanuela Galli, sopranoYetzabel Arias Fernández, sopranoMartín Oro, alto
Nicholas Robinson, Silvia Colli, Ulrike Fischer, Ana Liz Ojeda, violin I Carlo Lazzaroni, Rossella Borsoni, Ulrike Slowik, violin II Gianni de Rosa, Livia Baldi, viola Caterina Dell’Agnello, Claudia Poz, cello Davide Nava, double bass Gabriele Palomba, theorboFabio Bonizzoni, harpsichord & direction
Total playing time: 63’40 Recorded in Saint-Michel en Thiérache (France) in June 2010 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Design: Valentín Iglesias Booklet essay: Nicolò Maccavino English Français Italiano Deutsch Español
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ALESSANDRO SCARLATTI (1660-1725)
‘Serenata à Filli’ a 3 con stromenti (Tacete, aure, tacete) Serenata for 2 sopranos, alto and orchestra
1 Sinfonia2 Recitativo (Fileno): Tacete, tacete aure3 Aria (Fileno, Niso): A ragion4 Recitativo (Niso): Dormite pur5 Aria (Fileno, Niso): Al mio cordoglio6 Recitativo (Doralbo): Ah no! Luci, stelle7 A 2 (Fileno/Niso, Doralbo): Deh! fugate8 Aria (Doralbo): Se da Filli9 Recitativo (Doralbo): Ma stolto10 A 2 (Fileno, Doralbo): Con durissimi legami11 Recitativo (Fileno): Dunque se fian12 A 3 (Fileno, Niso, Doralbo): Se v’aggrada13 Recitativo (Niso): Lasso, che i miei sospiri14 Aria (Niso): Ombre voi 15 Recitativo (Fileno): Dove si vidde mai 16 Aria (Fileno): No, non m’ingannate17 Aria (Doralbo): Quell’ardor18 Recitativo (Doralbo): Folle, ma che deliro! 19 A 3 (Fileno, Niso, Doralbo): Svegliati o bella
‘Le Muse Urania e Clio Lodano le bellezze di Filli’a 3 con stromenti (O mie figlie canore)Serenata for 2 sopranos, alto and orchestra
20 Introduzzione21 Recitativo (Sole): O mie figlie canore22 A 3 (Sole, Urania, Clio): Viva, viva23 Recitativo (Clio): Sì, sì stupor non fia24 Aria (Urania): Sua guancia vezzosa25 Recitativo (Sole): Io, io che il Sole sono26 Aria (Clio): O che serri27 Recitativo (Sole): E la bellezza28 Aria (Sole): Se rivolge29 Recitativo (Urania): Per celebrarla30 Aria (Urania): Dunque in lei 31 Recitativo (Clio): Anzi, se virtù32 Aria (Clio): Questa sì ch’in petto33 Recitativo (Sole): Cor, se invan s’affatica34 Aria (Sole): Parto o bella35 A 3 (Sole, Urania, Clio): Dormi o bella
About this CD
By the time that Alessandro Scarlatti was writing the two serenatas recorded here by Fabio Bonizzoni and La Risonanza and inaugurating an exciting new series on Glossa, that celebratory cantata form, often employing allegorical characters, had been in existence for a mere half century. Scarlatti, as Bonizzoni says, “was one of the main sources of inspiration for Handel whilst the latter was in Italy, and this creates a real continuity with what we have been doing in the recent past”; notably the much-admired septet of recordings devoted to the Saxon composers Italian chamber cantatas.
That sense of continuity extends to the fact that the two works on this new disc – Serenata a Filli and Le muse Urania e Clio lodano le bellezze di Filli – were written in Rome in 1706 and probably for the same patron in Francesco Maria Ruspoli who furthered Handel’s own career. Fresh from his harpsichord recording of Bach’s Die Kunst der Fuge, Fabio Bonizzoni now, with the subtle and stylish instrumentalists of La Risonanza, is not only choosing to illuminate an unexplored genre on record, but is also shedding light on an unknown facet of Alessandro Scarlatti’s own prodigious output. Here, the serenatas are given dramatic vitality by regular partners in Bonizzoni’s artistry: sopranos Emanuela Galli and Yetzabel Arias Fernández and countertenor Martín Oro.
As well as the elder Scarlatti producing examples of these courtly “dramatic cantatas” future releases on this new series will demonstrate the quality of the contributions in the serenata form by Handel himself and also by Antonio Vivaldi.
Fabio Bonizzoni’s attention on record to the music of Handel - which has, thus far, yielded seven discs devoted to the early Italian-texted cantatas - has just now had the good fortune to receive this year’s Stanley Sadie Handel Recording Prize for Apollo e Dafne, the final release in the present series for Glossa. This is the third time that Bonizzoni and his period-instrument ensemble La Risonanza have won this prestigious prize for their series of “Le Cantate Italiane di Handel” (previous winners were the first release, Le Cantate per il Cardinal Pamphili and the fifth, Clori, Tirsi e Fileno); three other recordings have also featured as runners-up. [read more...]
It is not only discerning music lovers around the globe who are giving a warm welcome to the recordings which are being published on Glossa; critical approval in the specialist media has been joining in as well. One example of the latter is the newly-instigated International Classical Music Awards (ICMA) which, for its inaugural 2011 edition, has chosen no less than nine of Glossa’s recent releases in its initial nominations. [read more...]
Fabio Bonizzoni’s series, with La Risonanza, of Handel Italian cantate con stromenti for Glossa has now come to a conclusion with seven volumes recorded, but not before the group were awarded the 2010 Stanley Sadie Handel Recording Prize for the fifth instalment, Clori, Tirsi e Fileno (with sopranos Yetzabel Arias Fernández and Roberta Invernizzi and contralto Romina Basso in the three named roles). In commending the disc the jury of the Recording Prize made the following comments, “La Risonanza produces a delightful performance that presents all of the strengths and virtues we have come to associate with their recent explorations of Handel’s music. [read more...]
In the third instalment in Fabio Bonizzoni’s survey of the secular cantatas with instrumental accompaniment composed by Georg Frideric Handel during his stay in Italy, come a quartet of works associated with the Venice-born maecenas Pietro Ottoboni – including the substantial Ero e Leandro, the libretto for which is plausibly considered to have been written by the Cardinal Ottoboni himself. As well as the seldom-performed cantata for bass, Spande ancora a mio dispetto and Ah! Crudel, nel pianto mio scored for soprano solo, Bonizzoni also directs the Spanish-texted No se emendará jamás.[read more...]