Francesco Cavalli succeeded Monteverdi as the most influential composer of the new genre of opera that emerged in mid-17th-century Venice. Il Xerse is a fictitious dramma per musica that tells of Persian King Xerxes’ love for Romilda, who in turn is in love with his brother Arsamene. The plot is an entertaining and extremely intricate human comedy of crossed loves, court intrigues and disguises – the work’s popularity saw it staged in Paris at the wedding of Louis XIV and Maria Theresa of Spain. Since overshadowed by Handel’s later Xerxes, this Martina Franca production is the first in modern times.

Following the success of ‘Arias for Nicolino’, a musical portrait of the celebrated castrato of Handel’s era (A427), Carlo Vistoli turns his attention to Venetian opera of the seventeenth century. The Italian countertenor – ‘a voice […] intrinsically beautiful, strong and powerful’ (Opera Magazine) – has been delving into this repertory since the beginning of his international career with specialists such as Leonardo García Alarcón, William Christie and John Eliot Gardiner. In this anthology accompanied by the ensemble Sezione Aurea, the focus is on operatic scenes and chamber music by the leading composers of the time, such as Francesco Cavalli and Claudio Monteverdi, whose famous aria ‘Sì dolce è ’l tormento’ exemplifies the linking thread of the arias in this recording: disappointed lovers.

After the great success of their first disc for Arcana featuring two unpublished masterpieces by Pergolesi, which won the ‘Diapason Découverte’ award, Giulio Prandi and the Coro e Orchestra Ghislieri return with a new recording, devoted to Niccolò Jommelli’s Requiem. Composed in 1756 for the solemn obsequies of the Duke of Württemberg’s mother, it became the most popular Requiem setting in Europe until Mozart’s, written in 1791.

Following the success of his solo recordings, Paolo Zanzu returns at the head of his ensemble Le Stagioni with ‘Officina Romana’, featuring the countertenor Carlo Vistoli. In the early eighteenth century, Rome was one of the great music capitals of Europe. In the space of a few years, Corelli, Handel, Alessandro and Domenico Scarlatti, Caldara, Cesarini and many others crossed paths there, surrounded by painters, sculptors, poets and philosophers who were among the great names of the age. The fruit of long reflection and research, ‘Officina Romana’ crystallises this unique moment in the history of music by recreating an idealised musical evening, a conversazione, a sort of liberal meeting of lofty minds in the palace of a Roman cardinal, with a programme mingling vocal and instrumental music in both orchestral and chamber formation.