ANDRÉ CAMPRA Gli strali d’Amore Divertimento immaginario
La RisonanzaFabio Bonizzoni
Roberta Invernizzi, dessus [Leonora] Cyril Auvity, haute-contre [Lelio]Salvo Vitale, basse [Il Dottore]
La Risonanza Ana Liz Ojeda, violin Claudia Combs, violin Caterina Dell’Agnello, basse de violon Gabriele Palomba, theorbo Fabio Bonizzoni, harpsichord & direction
Total playing time: 65’46 Recorded in Brunello, Italy, in November 2010 Engineered by Roberto Meo Produced by Sigrid Lee Executive producer: Carlos Céster Design: Valentín Iglesias Booklet essay: Barbara NestolaEnglish - Français - Deutsch - Español
Links & downloads
Commercial release sheet (PDF)
Buy this product
GLI STRALI D’AMORE Italian arias by André Campra Recitatives by Angela Romagnoli (text) and Fabio Bonizzoni (music) Interludes by Louis-Nicolas Clérambault
Louis-Nicolas Clérambault (1676-1749) 01 Sonata II in G major, La Félicité (C.52), for two violins and basso continuo: Lentement - Allegro
André Campra (1660-1744) 02 Recitativo (Lelio): Ah, che d’amor la gioia 03 a 2 (Lelio, Il Dottore): D’un geloso core - Recitativo (Il Dottore): D’amorosi mirti 04 Aria (Lelio): Amanti godete 05 Recitativo (Leonora): Alle vaghe lusinghe 06 Aria (Leonora): All’incanto d’un bel riso 07 Recitativo (Lelio): Adorata Leonora
Louis-Nicolas Clérambault 08 Sonata II in G major, La Félicité (C.52): Allegro - [Gavotte] - [Gigue] - Lent
André Campra 09 Recitativo (Leonora): Come, come dar fede 10 Aria (Leonora): La farfalla intorno ai fiori 11 Recitativo (Lelio): Idolo mio, t’arresta 12 Aria (Leonora): Pargoletti faretrati 13 Recitativo (Lelio): Idolo mio, già l’alma 14 a 2 (Lelio, Il Dottore): Vezzosette care pupillete 15 Recitativo (Leonora): Non rispondere, Amore 16 Aria (Leonora): Vuo’ vendetta 17 Recitativo (Leonora): Ma, Leonora, che pensi? 18 Aria (Leonora): Lungi da me martiri 19 Recitativo (Leonora): Ma ecco, che la quiete 20 a 2 (Il Dottore, Lelio): Luci belle 21 Recitativo (Leonora): Ecco che già il riposo 22 Aria (Leonora): Amor diletto 23 Recitativo (Il Dottore): La mia amata Leonora 24 a 2 (Il Dottore, Leonora): Bell’idolo d’amore 25 Recitativo (Leonora): Molesto mi è Il Dottore 26 Aria (Leonora): Amor te’l giuro affé
Louis-Nicolas Clérambault 27 Sonata V in D major, Chaconne (C.55), for violin and basso continuo
André Campra 28 Recitativo (Leonora): L’unico ben 29 Aria (Leonora): Non si puo’ vede 30 Aria (Leonora): Si scherzi si rida 31 Recitativo (Lelio): Se l’amata Leonora 32 Aria (Leonora): Ch’io viva senza te 33 Contre-danse 34 a 3 (Leonora, Il Dottore, Lelio): Tutti lieti festeggiate
About this CD
Fabio Bonizzoni has come up with another imaginative and enticing programme for his latest Glossa release, creating an Italian “pastiche” drama with music by André Campra and with the starring presence of soprano Roberta Invernizzi. This is the next new hit from La Risonanza to follow on discs devoted to music by Handel, Lully and Alessandro Scarlatti.
André Campra, a major figure in the world of French opera between Lully and Rameau, was clearly not very impressed by the former’s discouragement of Italian musical practices inside France when he was elevated to the post of surintendant de la musique du roi. In many of Campra’s French opéras-ballets and comédies-lyriques written by him as the 18th century was emerging out of the 17th (the period of the summit and the waning of the reign of Louis XIV) are to be found interpolated many dashing arias with texts in Italian (Campra’s father was Italian-born like Lully padre e figlio) and from some of these Fabio Bonizzoni and Angela Romagnoli have chosen and concocted Gli strali d’Amore (Love’s Arrows), thereby, curiously, following in the footsteps of Campra himself – who was a dab hand at this activity himself, as demonstrated by his own Les Fragments de Mr. De Lully.
Joining Bonizzoni and Invernizzi (Glossa has recently issued a “Portrait” album involving the Milanese soprano) in this delightful sequence of recitatives and da capo arias recorded in Tuscan Brunello are the impressive Cyril Auvity and Salvo Vitale, and a sprightly La Risonanza, together with an informative booklet essay from Barbara Nestola.
Roberta Invernizzi is very clearly one of the finest sopranos to be heard today in the Baroque - and especially the Italian Baroque - repertory, as evidenced by the beauty that she brings not only to operatic roles and vocal roles which have been essayed by many other famous singers both on record and in performance, but also by her sense of clarity in and characterization of unknown music from the 17th and 18th centuries. The rediscovery of so much Italian music is a reflection of the labour and artistry of numerous musical minds but as a kind of prima donna inter pares the Milanese soprano stands out from many others for the intensity of her approach, to the point that she is emerging as a new muse for other distinguished modern-day practitioners of the Italian Baroque such as Fabio Bonizzoni and Antonio Florio who contribute here their own thoughts on the artistry of Roberta Invernizzi, adding to the soprano’s own considerations about her musical life.[read more...]
As talented as Fabio Bonizzoni is in performing music from across the Baroque spectrum – witness his Glossa recording of Bach’s Die Kunst der Fuge – he has become increasingly celebrated for his interpretations of music from Italy. This embraces not only the music of native composers such as Alessandro Scarlatti (the Serenate a Filli album) but, of course, the series of Handel Cantatas in Italian, Lully’s Ballets et récits italiens and now there is a pastiche opera with music by André Campra (born in Aix-en-Provence, but whose father was from Turin). The new recording, Gli strali d’Amore sees Bonizzoni and La Risonanza joined by haute-contre Cyril Auvity and bass Salvo Vitale as well as Bonizzoni’s fellow Milanese musician, the soprano Roberta Invernizzi, whose career as a solo star – as opposed to as her being an ensemble singer – is now starting to blossom (as they say, watch this space...). [read more...]
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...]
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...]