Raul Montanari Ric Velardi

Alessandro Melani (1639-1703) was a prolific author of cantatas: we know of some thirty works, many of them written for solo soprano and concertante trumpet, some with the accompaniment of strings and basso continuo and others yet with the only support of basso continuo. Our CD presents six such cantatas some of which - for example Quai bellici accenti - are relatively well-known, while others are less popular although of equally high musical standard. The soprano Rosita Frisani gives of them a fine interpretation, full of virtuosity and beautiful nuances, well supported by the Alessandro Stradella Consort conducted by Estevan Velardi, who has long devoted himself to 17th- and 18th-century Italian music.

This CD contains the Stabat Mater by Antonio Maria Bononcini (1677‐1726), one of the earliest and most famous works in this genre, on a par with the Stabat Mater by Pergolesi. In this work, in the tragic key of C minor, Bononcini reaches a noble purity of expression of the deep human feelings of the lamenting Mother. The polyphony is strong but never overwhelming, the melodic lines have a powerful simplicity and serenity, breathing a devotional piety and sincerity throughout the whole work.

Il giardino d'amore ou Venere e Adone (Vénus et Adonis) est une serenata à deux voix (SA), trompette, sopranino, cordes et basse continue du compositeur italien Alessandro Scarlatti, sur un livret en italien d'un auteur inconnu et composée dans les premières années du xviiie siècle. On ignore les circonstances de la composition de cette sérénade.

The artistic heritage of Antonio Vivaldi, acknowledged for his talent as far as the mastery of instrumental music is concerned, has waited for years for a correct evaluation in the opera music field as well. On the other hand, a musician who in 1739, at 61 years of age, was able to boast of having composed no less than 94 operas had a legitimate right to describe himself first and foremost an opera composer. Nowadays, unfortunately, only 23 of his opera scores have been preserved and not all are complete; as the scholar Reinhard Strohm writes, "We're only able to document approximately 60 operatic performances between 1713 and 1739, in which the composer was personally involved in various ways.

One of the earlier members of that elite caste of composers who lived only into their mid-thirties (one thinks, of course, of Mozart, Schubert and Mendelssohn), Italian Baroque composer Alessandro Stradella is considered one of the most versatile and influential musical figures of the mid-seventeenth century. Born in Rome in 1644, Stradella first appears in the historical record eleven years later when his name is among the singers listed at St. Marcello del Crocifisso Cathedral. In 1658 he became a singer at the court of Queen Christina of Sweden (stationed in Rome), who, by 1663, was sufficiently impressed with Stradella's musical skills to begin commissioning compositions from him (beginning with the motet Chare Jesu suavissime).

Nicola Porpora is a mostly forgotten figure in composition today; however, he exerted considerable influence as a teacher in his day, and much of his own compositional output is of exceptional quality. He made his chief contribution in the vocal realm, having written many worthwhile secular and sacred operas, oratorios, serenatas, and cantatas. Porpora helped to enrich the melodic qualties of vocal music by drawing on greater technical resources – which he understood as well as any contemporary.

Giuditta is based on the Biblical story of Judith, a beautiful Israelite widow who insinuates herself within the camp of the conquering Assyrian tribe and deceives their general, Holofernes, before decapitating him and carrying off his head in triumph. This is the second version of the oratorio, known as the Cambridge version after the location of the manuscript when it was turned up in modern times. Scarlatti had considered the original version, composed for Rome in 1693, to be his finest oratorio. This is no mean assessment from the composer of masterworks which have been more celebrated in our own time such as La Maddalena, for their expressive pathos and superbly grateful vocal lines.