Parte Prima

Elisabeth Schwarzkopf is universally acknowledged to be one of the greatest singers of the 20th century. Blessed with a voice of exquisite beauty, as well as a striking physical presence, she shone brightly in opera, excelled in the concert hall and brought a unique artistry to the recital platform. She was signed exclusively to EMI in 1946 and released a stream of magnificent recordings over almost 30 years. Schwarzkopf could translate her charismatic stage presence into purely vocal terms through the medium of recording, and still convey all the dramatic meaning of her songs and operatic characters to listeners who could hear but not see her. This rare quality is evident in all the recordings in this unique collection, which covers a lifetime of work and reveals the development of her art.

First performed at the Brussels court during Lent 1706, this second oratorio by Pietro Torri is the oldest to have been given in the capital of the former Spanish Netherlands, and for which a score survives. Sung by the leading artists of the time – the very same who went on to participate in the first performances of the early Handel operas – it played a decisive role in the dissemination of Roman oratorio in northern Europe. Torri, who had a lifelong attachment to the court of the Electors of Bavaria, left behind the most substantial corpus of oratorios – both in French and in Italian – before Handel, whom La Vanità del mondo anticipates by the beauty of its arias and its dramatic power.

L’isola disabitata (“The Desert Island”), Hob. 28/9, is an opera (azione teatrale in due parte) by Joseph Haydn, his tenth opera, written for the Eszterházy court and premiered December 6, 1779. The libretto by Pietro Metastasio was previously set by Giuseppe Bonno and subsequently used by Manuel García. Nino Rota has set excerpts to music as well...

In the second half of the seventeenth century, London experienced an artistic golden age, with the arrival of many foreign musicians and the proliferation of theatres and concert halls where audiences came to listen to the stars of the moment. One of these musicians was the Italian Nicola Matteis, who arrived around 1660 and became the sensation of the London music scene. Purcell was only a child at the time and there is no record of their meeting, but it is very likely that he was familiar with Matteis’s works, including his Ayres , recorded here for the first time in a version for four-part consort. Exploration of this London effervescence yields to some surprising discoveries, such as the music of a mysterious composer who published trio sonatas around 1715 under the name Mrs Philarmonica. Le Consort presents the very first recording of this highly interesting music, probably influenced by Corelli and very likely written by a woman composer who, given the conventions of the time, made use of a pseudonym. Her true identity is unfortunately unknown to us.

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