il Tromba 66

The scope and grandeur of Handel's operatic output – the musical variety and inventiveness, the depth of psychological insight, as well as the sheer volume of works – continue to astonish as new operas are brought to light and more familiar works are given productions and recordings that do justice to the material. Ariodante, written in 1735, is nowhere nearly as frequently performed as the more famous operas like Giulio Cesare, but neither is it entirely obscure, and there have been several very fine modern recordings. This version with Alan Curtis leading Il Complesso Barocco can be recommended without reservation to anyone coming to the opera for the first time or for anyone who's already a fan.

A Lenten oratorio in the Italian tradition of sacred opera, Il Dolore di Maria Vergine is widely held to be the outstanding masterpiece in the genre by Alessandro Scarlatti. Structured in two extended parts, it assigns roles to the Virgin Mary, St John, Nicodemus and to a High Priest named Onìa. The challenge taken on by the composer and his anonymous librettist early in 1717 was to make a mere four characters effective as vehicles for conveying the drama of the Passion, moving as Bach does from the capture of Jesus in Gethsemane, to his interrogation by Pilate, his scourging and crowning with thorns, his journey to Calvary and his crucifixion and death.

Handel's 1738 opera Serse (Xerxes) baffled audiences at first hearing with its mixture of tragedy and comedy, but that same mixture has resulted in the opera's steadily rising status in performance today. If you're maxed out on athletic opera seria performances, check it out: it has elements of a put-on of that genre. The plot is kicked off by Serse, the king of ancient Persia, praising a shade tree in the famous aria "Ombra mai fu," whose tune is also known as Handel. The role of Serse is written for a male countertenor (originally the castrato Caffarelli), who has to keep a level of seriousness as his character becomes involved in increasingly improbably romantic triangles.

La riscoperta dell’oratorio Mosè liberatore del popolo ebreo (1685), per cinque voci, tromba e archi celebra il trecentocinquantesimo anniversario della nascita di Giacomo Antonio Perti, eclettico musicista bolognese nato nel 1661 e morto nel 1756 a 95 anni dopo oltre settant’anni di attività musicale.