Sergio Vartolo, Cappella Musicale di San Petronia, Bologna - Cavalieri: Rappresentatione di Anima e di Corpo (1998)
Sergio Vartolo, Cappella Musicale di San Petronia, Bologna - Cavalieri: Rappresentatione di Anima e di Corpo (1998)
EAC | FLAC | Image (Cue & Log) ~ 418 Mb | Total time: 104:43 | Scans included
Classical | Label: Naxos | 8.554096/97 | Recorded: 1996
EAC | FLAC | Image (Cue & Log) ~ 418 Mb | Total time: 104:43 | Scans included
Classical | Label: Naxos | 8.554096/97 | Recorded: 1996
The changes in musical style that were taking place in Italy in the late 16th century came to a head in 1600, with the performance and publication of three path-breaking works: two settings of Rinuccini's libretto for Euridice by Giulio Caccini and Jacopo Peri, and Cavalieri's Rappresentatione. All three composers were associated with the Medici court in Florence, and they were bitter rivals in their claims to the "marvelous invention" of drammi posti in musica per recitar cantando, dramas in music in recitative style. Emilio de' Cavalieri (c1550-1602), a Roman nobleman who had been appointed superintendent of Lorenzo I's musical establishment, had lost ground in Florence to the other two and the Rappresentatione was first produced in Rome, probably as a challenge to the others, and its innovative nature was immediately recognized and warmly received.
The production took place in the Oratory of St. Philip Neri of Santa María in Vallicella, the location of the congregation of the Oratory with which Cavalieri was associated, and it is generally considered to be the first oratorio in musical history. The body of the work is lightly scored and is mostly sung in dramatic monody; it includes speech-like recitative, madrigals, songs in dance meters, and strophic songs, with considerable reliance on the moralizing chorus in all of these forms. The libretto, by the Oratorian Father Agostini Monni, is drawn from the text of a laude dialogue between Soul and Body, and unlike later oratorios, is allegorical rather than Biblical in origin and nature. After a lengthy spoken dialogue between Avveduto (Awareness) and Prudenzio (Prudence), the protagonists, Corpo (Body) and Anima (Soul), are involved with the other characters in a variety of scenes – some contemplative, some dramatic (including some splendid effects set in Hell) – that lead to the didactic affirmation that the eternal kingdom belongs to those who serve God.
The Oratorians were committed to simplicity and naturalness, as opposed to the artificial and intellectual concerns of the Jesuits, and this is reflected in Cavalieri's music. It flows easily and melodically, without great variety or harmonic complexity, and without the vivid and florid exhibitionism that came with Monteverdi and the later Baroque composers. The singers in this performance are all competent and of no great distinction except for tenor Giovanni Pentasuglia and baritone Roberto Abbondanza, who are impressive in their roles. The small orchestra of period instruments is crisply led by Sergio Vartolo, and the musicians are excellent.–Alexander J. Morin
Performer:
Anima - Rosita Frisani, soprano
Corpo/Piacere - Alessandro Carmignani, tenor
Tempo/Mondo - Carlo Lepore, bass
Inteletto - Michel van Goethem, counter-tenor
Consiglio - Roberto Abbondanza, baritone
Compagno I - Giovanni Pentasuglia, tenor
Compagno II - Marcello Vargetto, bass
Angelo Custode - Patrizia Vaccari, soprano
Vita Mondana - Marinella Pennicchi, soprano
Avveduto - Tomasso Todesca, speaker
Prudenzio - Maurizio Rippa, speaker
Trebles of the Prague Philharmonic Orchestra
Cappella Musicale di San Petronia, Bologna
Sergio Vartolo, conductor
Tracklist:
Emilio de Cavalieri (c.1550-1602)
Rappresentatione di Anima e di Corpo (Representation of Soul and Body)
CD1:
01. Prologue
02. Proemio
03. Act I Scene 1: Il tempo, il tempo fugge (Time)
04. Act I Scene 2: Questa vita mortale (Chorus)
05. Act I Scene 3: Ogni cor ama il bene (Intellect)
06. Act I Scene 4: Anima mia che pensi (Body)
07. Act I Scene 5: Il ciel clemente ogn'hor gratia e favore (Chorus)
08. Act I: Sinfonia
09. Act II Scene 1: Benedite il Signore (Chorus)
10. Act II Scene 2: La nostra vita in terra (Counsel)
11. Act II Scene 3: Ahi caso acerbo (Chorus)
12. Act II Scene 4: Chi gioia vuol (Pleasure)
13. Act II Scene 5: Non so s'e stato bene (Body)
14. Act II Scene 6: Fortissimi guerrierri (Guardian Angel)
15. Act II Scene 7: Io son, io son il Mondo (World)
16. Act II Scene 8: Al forte vincitore (Guardian Angel)
17. Act II Scene 9: Dopo brevi sudori (Chorus)
CD2:
01. Act III Scene 1: Salite pure al cielo (Intellect)
02. Act III Scene 2: Voi che siete laggiu (Counsel)
03. Act III Scene 3: Alme ch'in ciel godete (Intellect)
04. Act III Scene 4: Anime sfortunate (Counsel)
05. Act III Scene 5: Alme beate e belle (Intellect)
06. Act III Scene 6: Alme, la pena e 'l danno (Counsel)
07. Act III Scene 7: Alme la vostra gloria (Intellect)
08. Act III Scene 8: Gloria sia a Dio (Angels, etc.)
09. Act III Scene 9: O sinor santo e vero (All)
10. Act III Festa: Chiostri altissimi e stellati (All)
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Sergio Vartolo, Cappella Musicale di San Petronia, Bologna - Cavalieri: Rappresentatione di Anima e di Corpo (1998)
Thanks to the original releaser