Antonio Russo

In campo operistico, il periodo storico tra Cavalli e Handel - quello, per capirci, che comprende giganti come Stradella, A. Scarlatti, Legrenzi… - è il più trascurato dalla discografia. Ed è un peccato, perché è il periodo nel quale si sviluppano le forme e gli stili che saranno tipici del Barocco maturo, come l'aria con il da-capo ed il virtuosismo belcantistico. Benvenuta quindi questa produzione dell'austriaca ORF, che documenta dal vivo l'esecuzione di questo rarissimo "Giulio Cesare in Egitto" del veneziano Antonio Sartorio, uno dei maggiori eredi di Cavalli nel florido operismo lagunare.

Gaetano Latilla (1711-88) is pretty much a footnote, but after its premiere in 1738, this opera, La finta cameriera, was performed at one time or another throughout Europe for the next 20 years. It consists of 44 arias and acres of recitative (indeed, the Parisians objected to all the chatter in 1752). I normally hate these 18th century “intermezzo” operas about people disguised as either the lower classes or their own brothers, particularly because in between the acres of recitative there usually are simple-to-sing, “flavorful” arias. This work, however, is different: many of the arias are very showy and difficult, and require true virtuoso singing.

WORLD PREMIERE in modern times of an unknown comic opera which was recently rediscovered along with other three other Leo operas at the Abbey of Montecassino. L Alidoro (Golden Wings) is a lost-and-found story which explores the themes of love and jealousy from different perspectives in particular age and social status interweaving comedy with more serious reflections. Director Arturo Cirillo explains how in this opera, nothing is happening except a subtle and gorgeous relational game among the seven protagonists.

The Montecassino Monastery recently hosted the score of this comic opera by Leonardo Leo, one of the leading Neapolitan composers of the 18th century, who introduced new stylistic elements to the genre. Cirillo shows in a very exciting way in his direction how nothing actually happens in this opera - apart from a very subtle play of the relationships between the seven protagonists. As with Marivaux, this is about the social differences when the middle class turns to the servants and vice versa, and as in a Feydeauschen comedy, they wander on stage (and leave again) to spy, to portray themselves, or to court someone until everyone is eaten away by doubt.

Colombo is technically not quite an opera. Gomes called it a "Poema Corale-Sinfonico". Although each of the work's four parts is given a specific location–the Convent of Rabida, the Royal Palace, at Sea, on the Island–it more closely resembles an oratorio or a scenic cantata. It was composed in celebration of the "Fourth Centenary of the Discovery of the Americas by Columbus"; the premiere was on October 12, 1892, in Rio de Janeiro