Robin Johannsen, Alessandro de Marchi, Academia Montis Regalis - Antonio Caldara: In dolce amore (2014)
Robin Johannsen, Alessandro de Marchi, Academia Montis Regalis - Antonio Caldara: In dolce amore (2014)
EAC | FLAC | Image (Cue & Log) ~ 417 Mb | Total time: 72:54 | Scans included
Classical | Label: Deutsche Harmonia Mundi | # 88843011692 | Recorded: 2013
EAC | FLAC | Image (Cue & Log) ~ 417 Mb | Total time: 72:54 | Scans included
Classical | Label: Deutsche Harmonia Mundi | # 88843011692 | Recorded: 2013
CANTATAS AND OPERAS – the twin pillars of secular vocal music of the baroque period. Few composers – though there are some notable exceptions – eschewed these genres if only because a set of cantatas, engraved or copied professionally and strategically dedicated, could be a comparatively inexpensive starting point for a career while opera lured with prospects of fame and fortune.
The Venetian-born Antonio Caldara (1670–1736) certainly was no exception. His set of twelve cantatas (Op. 3) appeared in 1699; his operas had been staged in theatres in Venice before his move to the court at Mantua in 1700. But with his appointment as maestro da cappella to Francesco Maria Ruspoli, prince of Cerveteri, in Rome from mid-1709 and then as vice-Kapellmeister to the imperial court at Vienna from June 1716, he encountered environments that required intense concentration on the cantata in one and on opera in the other.
In the seven years up to his departure for Vienna Caldara supplied Ruspoli with some 200 cantatas – but no more than three operas. The explanation lies in the ‘conversazioni’ that Ruspoli held in his palazzo on most Sundays throughout the year. At these, eminent clergy and diplomats, cognoscenti of the arts and friends of Ruspoli would hear their host’s small instrumental ensemble and some of his singers in new cantatas from his immensely prolific maestro. Nearly all of these are for soprano or contralto voice and most have a sequence of recitative – aria – recitative – aria. Many begin with an ‘introduzione’ comprising of two well-contrasted allegro movements. ‘Introduzioni’ and arias alike are scored for 3 strings (two violins and a bass line) or unison violins and continuo. Six arias of these three cantatas are intimate rather than grandiose, whether in their overall dimensions, slender accompaniments or small-scale musical ideas, and above all in their texts that deal with personal experiences of love: cruel, unrequited, possessive, delightfully painful, or sweet.
Performer:
Robin Johannsen, soprano
Academia Montis Regalis
Alessandro de Marchi, conductor
Tracklist:
Antonio Caldara (1670-1736)
Scipione nelle Spagne (1722)
01. Pensieri di amante
Begl'occhi adorati (Cantata. 1715)
02. Sinfonia
03. Recitativo: Begl'occhi adorati
04. Aria: L'ardor che in petto sento
05. Recitativo: Sin ch'io racchiudo in seno
06. Aria: Vedrai se un cor più fido
Scipione Africano (1735)
07. In dolce amore
Adriano in Siria (1732)
08. Numi, se giusti siete
Rotte l'aspre catene (Cantata, 1715)
09. Sinfonia
10. Recitativo: Rotte l'aspre catene
11. Aria: In due begl'occhi
12. Recitativo: Appena il cor sentì l'acerba piaga
13. Aria: E pur vi deggio amar
Demofoonte (1733)
14. Se tutti i mali miei
Scipione Africano (1735)
15. Figlia a Roma
Temistocle (1736)
16. Chi mai d'iniqua stella
Credea Niso (Cantata, 1712)
17. Sinfonia
18. Recitativo: Credea Niso
19. Aria: Fuggi pur
20. Recitativo: Ma non creder ingrato
21. Aria: Fa presto ritorno
I disingannati (1729)
22. Una donna
Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 7. March 2019, 11:41
Robin Johannsen, Alessandro De Marchi / Caldara: In dolce amore
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==== Log checksum 6D21BB5D29F51D13103E44A28533453975262967CE5421F1CEAEE597A99D20D8 ====
Robin Johannsen, Alessandro de Marchi, Academia Montis Regalis - Antonio Caldara: In dolce amore (2014)
Thanks to the original releaser