Bigmama LA Rabbia Non TI Basta

Giovanni Maria Legrenzi is no longer the household name it was during the 17th and 18th Centuries. Lengrenzi's shameful neglect by the record industry has been hard to fathom, but this new Divox release of his chamber oratorio «The death of the Repentant Heart» could well launch the much-needed revival for the Venetian master - a composer who took over where Gabrieli and Monteverdi left off. Legrenzi, better known for his operas than his religious works durîng his lifetime (1626-1690), was widely admired (and copied) all over Europe.

In the third instalment in Fabio Bonizzoni’s survey of the secular cantatas with instrumental accompaniment composed by Georg Frideric Handel during his stay in Italy, come a quartet of works associated with the Venice-born maecenas Pietro Ottoboni – including the substantial Ero e Leandro, the libretto for which is plausibly considered to have been written by the Cardinal Ottoboni himself. As well as the seldom-performed cantata for bass, Spande ancora a mio dispetto and Ah! Crudel, nel pianto mio scored forsoprano solo, Bonizzoni also directs the Spanish-texted Nose emendará jamás.

Alessandro Scarlatti La Giuditta was written for five voices and instruments. In 1697, Scarlatti set a second libretto, this time written by Cardinal Ottoboni’s father, Antonio, in which the number of characters was reduced to three. We do not know the occasion for which this second setting was created and lack information on its first performance. The differences between the two versions are discussed in Brian Robins’ review of a previous recording, which interested readers will find in the Archive. (Robins states that the second version was written for Rome in 1700. The notes to Dynamic’s recording state that the first version was the one performed in 1700.)

In the autumn of last year Fabio Bonizzoni and La Risonanza embarked on a journey taking a fresh look – musicologically as well as musically – at the chamber cantatas to Italian texts and with instrumental accompaniment composed by Georg Frideric Handel during his stay in Italy. Where the first release on Glossa focused on works associated with Cardinal Pamphili in Rome, this new recording contains pieces – including the dramatic cantata Armida abbandonata and Handel’s ‘own’ Hunt Cantata – originating in the establishment of the Marquis Ruspoli and written for sopranos such asMargherita Durastante and Vittoria Tarquini.

Bellinis rare Oper "La Straniera" entstand unter großem Zeitdruck und kann deshalb nicht die dramatische Wirkung entfalten, wie es etwa "Norma" tut. Auch ist das Libretto nicht das Beste. Dennoch findet sich hier viel zauberhafte, mitreißende Musik, sodass sich die Anschaffung besonders für den Liebhaber lohnt. Diese Aufnahme hier einer (konzertanten?) Aufführung von 1969 profitiert vor allem von einer jungen Montserrat Caballe, die einfach alles gibt. Der Klang ist nicht perfekt, etwas dumpf und unscharf in den Höhen, aber auf jeden fall noch hörbar.

Bellini's rare opera "La Straniera" was created under great time pressure and therefore can not develop the dramatic effect, as does "Norma". Also, the libretto is not the best. Nevertheless, there is a lot of magic, rousing music, so that the purchase is worthwhile especially for the lover. Performance from 1969 benefits above all from a young Montserrat Caballe, who simply gives everything. The sound is not perfect, a bit dull and blurry in the heights, but still audible in any case.

Fux was a prolific composer of vocal and instrumental music. His works include 19 operas, of which Costanza e fortezza (1723) is notable; 29 partitas, including the Concentus musico-instrumentalis (1701); 10 oratorios; and about 80 masses, of which the Missa canonica, (1708), written in canon. His book Gradus ad Parnassum" (1725; Steps to Parnassus) attempted to systematize contrapuntal practices. It was long the standard textbook on counterpoint and was studied by Wolfgang A. Mozart, Joseph Haydn, and other 18th-century composers.

Just when you thought that you had heard everything… My question is: where did they ever assemble such an across the board inept and painful to listen to group of singers. I mean really ! It just boggles the mind. I have NEVER heard a more lifelesss and just plain BLAH! rendition of a baroque opera in my life.
I was punished for seeking out a bargain (got it 2nd hand @ a terrific price).
Guess I'll go and dig out my trusty old vinyl recording with Teresa Stich-Randall, Maureen Forrester etc. to hear a passionate & even sanguine performance of this excellent Handel opera. That & the 3 excerpts by Marilyn Horne on her early Bach & Handel disc, which are GREAT ! [amazon]