Florio

Antonio Florio’s deep understanding of the Baroque musical terrain of Naples now takes him to the dawn of the 18th century when the fervour and visceral excitement held by Neapolitans for their chief patron saint San Gennaro was at its height, in an era when the city had been ravaged by plague and was living in constant fear of eruptions from nearby Mount Vesuvius. Great devotion was directed at San Gennaro, in the belief that he would ward off further evils: a richly-adorned chapel in Naples’s cathedral was dedicated to him and provided with its own musical ensemble, and a stream of composers (often pupils of the great Francesco Provenzale) such as Cristofaro Caresana, Nicola Fago and Gaetano Veneziano worked there. Central to the programme of I Turchini, prepared by Florio and Dinko Fabris, are performances of Fago’s four-part Stabat Mater and Caresana’s canzona Sirene festose. There is a rare outing also for a motet, Antra valles Divo plaudant, written by the young Domenico Scarlatti – three of whose string sinfonias are also included here – when he was one of the organists in the Real Cappella; musicians in Naples regularly moved in and out of different ensembles, then as now. A booklet essay by Fabris himself splendidly underpins the popular traditions and musical and religious colour surrounding San Gennaro in a Naples still alive today; moreover, an evocation brought to potent life by the performances of Florio, with his singers and instrumentalists of I Turchini.

Four mottetti by Francesco Provenzale are interspersed with three instrumental pieces by two other composers of that school. Apart from the opportunity to hear some relatively rare late Italian baroque, the main attraction is the two sopranos - Roberta Invernizzi and Emanuela Galli, two of the finest singers specializing in the Italian baroque repertoire today. Three of the mottetti are soprano duets and in these, the pair blend together beautifully.