Alessio Virdo'

Il Sant’Alessio began life in the tradition of Jesuit school plays, designed to emphasize the spiritual courage of saints. Cardinal Francesco Barberini and his brother, Taddeo, Prince Prefect of Rome, decided to put on one of these in a private showing at their splendid new family palace. They wanted to utilize the new musical form built around the heightened recitative style, what we would now call opera…

FANFARE: Barry Brenesal

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.

Alessio Bax plays an Italian-inspired programme, picking his favourite pieces taken from a rich history of music from one of the most romantic countries in the world. He opens the programme with a J.S. Bach transcription of an oboe concerto by Venetian composer Alessandro Marcello, which reveals a deep insight into Bach’s mind.

In the nineteenth century, piano transcriptions were both standard items in the performing repertory and the way most people got to know new music, or in the case of Bach, newly rediscovered music. There are lots of transcriptions for piano of Bach's works for strings, wind instruments, or voices, and Italian-French-American pianist Alessio Bax has dug into the older repertory and forged a program full of fresh items and attractive contrasts.