The libretto, written by Cardinal Giulio Rospigliosi (the future Pope Clement IX), tells the story of saintly sacrifice: on his wedding night Alessio departs alone for the Holy Land in search of sanctity. Years later he returns unrecognised as a beggar to his family home, where his father, mother and wife still mourn him. A demon tempts Alessio to reveal his true identity and so end his family’s grief, but an angel keeps him on the sacred path. The dying Alessio leaves a letter explaining the truth and an angelic chorus bids his family to rejoice rather than mourn, since he has been received into heaven. This strange, solemn and elevated story is leavened with comic scenes in the commedia dell’arte vein, adding to the rich musico-dramatic variety of the entire opera.

Between 2000 and 2005, L’Arpeggiata and Christina Pluhar opened up new ways in the rediscovery and interpretation of the Baroque repertoires. The five recordings made for Alpha are some of the greatest disc successes in these repertoires and still stand as references, thanks to the exceptional quality of their artistic and sound achievement.

A passionate soprano and a dynamic continuo are the irresistible elements of Capriola Di Gioia, the Belgian ensemble around Amaryllis Dieltiens and Bart Naessens. AEOLUS listeners already know them from their collaboration with the Flanders Recorder Quartet. The young musicians are already firmly established in the Belgian and Dutch music scene.

Stefano Landi, who was Monteverdi's junior by about 20 years, was active in Rome, whereas Monteverdi was based in Venice. Landi spent two formative years in Venice, though, and absorbed the progressive musical ideas of Monteverdi and other seconda prattica composers. That contact would explain why Il Sant'Alessio (1632) sounds like a Monteverdi opera. Its expressive recitatives, melodically gratifying set pieces, mixture of serious and comic elements, and the complex psychology of its characters make it a piece that should appeal to opera fans who love L'incoronazione di Poppea.

Stefano Landi (1587-1639) was a Roman by birth and career. He enjoyed the support of several powerful and culture-loving Roman families, for whom he composed numerous vocal pieces. Landi might well have been the personality who would make Rome the successor to Florence and Mantua as the commanding center for early experimentation in opera. Because of the fluctuating opposition of successive popes to theatrical performances, such was not to be, and it was Venice that would fill the vacuum. It was during an early period in Padua (his family’s home city), in about 1619, that Landi made his only venture into opera, composing La Morte d’Orfeo.