Musicos

Born in Lisbon of Italian parentage, Pedro António Avondano was employed at the court of Joseph I, becoming Portugal’s leading composer of instrumental music and dances for the royal ballet. Il mondo della luna (‘The World on the Moon’) was a hugely successful libretto by Carlo Goldoni and was set by the likes of Haydn—its comic tale seeing the social climber and strict moralist Buona Fede duped into thinking that he is on the moon. This narrative of illusion in collision with love, jealousy and power struggles is set with sublime lyrical and dramatic transparency by Avondano in this, his only opera.

Little is known about the life of Francisco António de Almeida, but he occupied a central position in Portuguese life in the first half of the 18th century and was able to learn the Italian style in Rome thanks to the ambitions of King João V. The rarely recorded La Spinalba ovvero Il vecchio matto (Spinalba, or the Mad Old Man) is a comic opera which follows the buffa tradition of intrigue and romantic complexities, and is filled with superb cantabile arias as well as a rich variety of original and dramatic orchestral effects. The cast is led by Ana Quintans, a much-in-demand soloist on the early music scene, and the highly regarded Portuguese ensemble Os Músicos do Tejo is directed by its co-founder Marcos Magalhães.

This album contains a collection of works from the Seicento, most of them well known and recorded several times, although it also includes a composition (Cazzati’s La Verità sprezzata) that is little or not very often heard. It is a repertoire to which we have usually devoted ourselves. That is why we wanted to propose our own way of doing it, in all honesty and avoiding fashions and artifice, without pretentiousness, respecting only the rhetorical —and dramatic— discourse implicit in the texts and their setting to music, fleeing from affectation —but not from affetti— and unquestioned customs, taking advantage of the information provided by musicological research, making use of our intuition and experience, and also remembering the teaching we have received from our old masters. Inspired by Ripa’s allegory and by the idea of truth as άλήθεια or unveiling of the self that is hidden by the veil of appearance, we have endowed our performance with a certain natural simplicity, a deliberate nakedness, especially in moments of particular emotional intensity.