Daniele Caluri

The cantata Della Passione di Gesù Cristo, J-C 124 (On Jesus Christ's Passion), was first performed in San Fedele on 9 March 1759, the first Friday of Lent. This title, which was published in the catalogue of Sammartini's works (Harvard University Press, 1976), does not correspond to the text found in Father Keller's manuscript. The text belongs instead to the cantata Gerusalemme sconoscente, ingrata (Jerusalem, ungrateful and disowning), which bears the number J-C 122. In the catalogue, this number belongs to the text of the cantata La perfidia giudaica (The Jewish Wickedness), which is considered lost and is catalogued as number C-49. According to the current state of research the 1760 cantata Della Passione di Gesù Cristo, Signor nostro seems to be lost.

Sacred Cantatas Naxos' Eighteenth Century Classics series treats listeners to a couple of samplings from a genre in which Giovanni Battista Sammartini, "father of the symphony," was involved to a largely unknown extent, the sacred cantata. Both of these works come from 1751, which must have been a very sad year indeed for this composer, as they are Maria Addolorata (The Sorrowing Mary) and Il pianto di San Pietro (The Tears of Saint Peter). These works have been edited for publication by musicologist Daniele Ferrari, and are recorded here with Ferrari himself conducting.

Parma’s Boccanegra is Leo Nucci…The handsome voice, which once seemed on the light side for Verdi’s heavier, darker title roles, now has the apposite color and weight, and it remains surprisingly firm and focused…he’s honest, commanding and deeply moving. Honest commitment distinguishes his colleagues, too. Tamar Iveri…[has] a lovely, full lyric voice with a welcome authority at bottom, steered by fine musicianship…and a lively, sympathetic temperament and presence. Francesco Meli…sings handsomely and looks properly romantic…Roberto Scandiuzzi…makes a fine, idiomatic Fiesco; and Simone Piazzola…gives promise of a major-league Boccanegra to come. Daniele Callegari, in Parma’s pit, lets the score unfold naturally and compellingly. (Opera News)