Roberta Invernizzi Soprano
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Roberta Invernizzi soprano La Risonanza Paolo Bacchin, trumpet Marco Panella, Alessandro Denabian, horns Nicholas Robinson, solo violin & viola d’amore Silvia Colli, Elena Telò, first violins Carlo Lazzaroni, Rossella Borsoni, Ulrike Slowik , second violins Gianni de Rosa, viola Caterina Dell’Agnello, cello Davide Nava, double bass Craig Marchitelli, archlute, theorbo & Baroque guitar Fabio Bonizzoni, harpsichord & direction ––––– Recorded at Oratorio di Santa Croce, Mondovì, Italy, in October 2011 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer and editorial director: Carlos Céster Editorial assistance: María Díaz, Mark Wiggins Design: oficinatresminutos.com Photographs on the digipak and pages 12, 19, 27 and 34 taken at Ca’ Zenobio, Venice, by Davide Capelli Photographs on pages 2 and 41 taken at the recording sessions in Mondovì by Laura Crippa and Renato Dolcini Special thanks to Olivier Lexa for his help at Ca’ Zenobio for the photo shoot. Many thanks also to Gianni Maraldi for lending his viola d’amore for the recording. © 2012 note 1 music gmbh Antonio Vivaldi (1678-1741) Opera Arias 01 Combatta un gentil cor 4:30 08 Fra le procelle del mar turbato 4:43 [Lucio – Tito Manlio , atto II, scena XI] [Lucio – Tito Manlio , atto II, scena XVIII] 02 Leggi almeno, tiranna infedele 5:40 09 Dite, ohimè! Ditelo, al fine 2:38 [Caio – Ottone in villa , atto II, scena VI] [Morasto – La fida ninfa , atto III, scena X] 03 Da due venti un mar turbato 3:15 10 Nacque al bosco e nacque al prato 4:07 [Ippolita – Ercole sul Termodonte , atto II, scena I] [Leocasta – Il Giustino , atto I, scena VI] 04 Non ti lusinghi la crudeltade 8:48 11 Tu dormi in tante pene 8:40 [Lucio – Tito Manlio , atto II, scena I] [Servilia – Tito Manlio , atto III, scena I] 05 Rete, lacci e strali adopra (Geminiano Giacomelli) 4:14 12 Gelosia, tu già rendi l’alma mia 3:12 [Filindo – Dorilla in Tempe , atto II, scena IX] [Caio – Ottone in villa , atto I, scena XI] 06 Se garrisce la rondinella 6:11 13 Se mai senti spirarti sul volto 10:26 [Ersilla – Orlando finto pazzo , atto II, scena XIV] [Cesare – Catone in Utica , atto II, scena IV] 07 Ombre vane, ingiusti orrori 6:34 14 Dopo un’orrida procella 4:27 [Costanza – Griselda , atto III, scena V] [Ottone – Griselda , atto III, scena VI] antonio vivaldi opera arias cally using historically-informed practices. Alongside That modern-day rediscovery has led to the artistry of Roberta Invernizzi. “She has a beautiful conductors of the calibre of Alessandrini, Antonini, revival of copious amounts of scores by eminently voice and is also very intuitive and spontaneous. So, Biondi, Bonizzoni, Curtis, Florio, and Marcon, all worthwhile composing names such as Ariosti, Badia, she has all such typical qualities of voice and tech - contributing to a reappraisal of the known and the Galuppi or Cavalli. Additionally for many, it has to be nique, but what is perhaps more striking is her unknown in Italian repertoire, there have been said, much of the operatic output of Antonio Vivaldi understanding of the dramatic role.” Dramatic skilled singers and ready to give of their best. A leader has fallen into this area until quite recently. All this music, whether it is opera or other forms current in in this field today is undoubtedly Roberta Invernizzi; amounts to a lot of music for singers to grapple with the Baroque era clearly attracts Invernizzi herself many have been the performances and recordings of and considerable sight-reading skills are clearly called for, as she says, “It is definitely the musical character - Antonio Vivaldi such Italian music across this time which have been for. Roberta Invernizzi comments that “effective ization of the various roles and their theatricality graced by the talent, style and delicacy of the soprano. sight-reading has been extremely important for me in which is important, for me. That is what draws me to Opera Arias That talent operates within a breadth of reper - my career, even more so when it needs to be called such music!” toire which is quite staggering (one would literally into action for the purpose of making last-minute Bonizzoni was so impressed with the quality of stagger under the weight of all the scores that she has substitutions for other singers who might have had to Invernizzi’s dramatic characterization that, for a i. Roberta Invernizzi had to address...), as is Invernizzi’s supreme facility in drop out of a performance!” recent creation of a pastiche opera with arias by André rising to the challenge that each score presents. Rising However, an interested public can rightly Campra, he even went as far as composing recitatives In addition to the soprano Roberta Invernizzi – here to the challenge comes from long experience in this demand more from a singer than a good memory and with the Milanese soprano in mind. “I really enjoyed manifesting her talent across a sequence of carefully music for, as she says, “Since my childhood I have some idea of the skill and intelligence brought by writing recitatives for her. I really felt myself to be in chosen opera arias by Antonio Vivaldi – the city of always been attracted to early music. Indeed, I began Invernizzi to this music can be gained from consider - the position of the composer who is not only putting Milan has nurtured any number of illustrious musi - developing and nourishing this passion from the first ing the opinions of two leading directors in this in music the story which he has in front of him, but cians across its history. To celebrated Milanese singers moment I started singing.” As well as Vivaldi there has music. Enthusiastic understanding of the music also knows well for whom he is writing.” Shades of the from the past such as Giulia Grisi and Amelita Galli- been plenty of Monteverdi, Bach, Alessandro Scarlatti before her is a characteristic noted by Antonio Florio, musical attraction that 18th century muses such as Curci, one can add names such as the pianist Maurizio and Handel in Invernizzi’s career to date (including an who has frequently worked with Invernizzi, especial - Margherita Durastanti, Francesca Cuzzoni and Pollini or conductors such as Claudio Abbado and award-winning series of recordings of secular cantatas ly in exploring Baroque Neapolitan music. To what Faustina Bordoni had on composers of their times! Riccardo Chailly. And there is a further conductor in of Handel with Fabio Bonizzoni, issued by Glossa and does Florio ascribe Invernizzi’s brio for what is a very And in Vivaldi that dramatic conviction has also Vittorio Negri who (from the 1950s onwards) has, in performances of La Resurrezione under the direction dramatic form of interpretation? “It comes from the been demonstrated by Invernizzi on recordings as well addition to his mastery of concertos and sacred choral of Nikolaus Harnoncourt). For her, the continuing fact that Roberta is a truly great singer, she knows as in appearances in productions across Europe: music by Vivaldi, given exemplary modern perform - pleasure and attraction of taking part so actively in how to mould herself with great ease to any demand Ippolita in Ercole sul Termodonte , Megacle in L’Olimpia- ances of both the opera Tito Manlio and of the “mili - the modern-day rediscovery of Italian Baroque music for any Affekt or for any call for virtuosity. For me, de , Vagaus in Juditha triumphans and Tullia in Ottone in tary oratorio” Juditha triumphans . lies in “being able to discover continuously the differ - hers is the voice of the Baroque par excellence.” villa , to name just a few. With a presence on some 80 However, since the 1990s there has been a ences in compositional styles”. And, as she adds, With a working partnership going back more recordings to date, the recording studio clearly holds tremendous expansion in the energy devoted to the “there is all the pleasure to be had in singing in the than twenty years the conductor on this recording, no fears for Roberta Invernizzi, and she says that performing of Italian Baroque music in general, typi - Italian language itself. For me, it feels like home.” Fabio Bonizzoni, is also well-placed to consider the “every time I make a recording it is a challenge against 6 | english english | 7 antonio vivaldi opera arias myself. I greatly like the recording process because it both of these typical of the Baroque era – would As far as the orchestration is concerned, the Larghetto to the agitated Presto , with sorrowful synco - allows you to repeat what you are singing constantly, demonstrate a lack of creativity and originality. It has most common group to be found is that of a string pated arpeggios from the violins, represents the which in turn helps you perfect technical passages and taken the zeal of musicologists, together with the ensemble which includes a section responsible for release of the heroine’s emotional tensions. refine your interpretation.” Practice indeed makes unstinting activity from performers over the years in playing the basso continuo; and it is by using these The Vivaldian art of achieving moments of great perfect with Roberta Invernizzi! order for this notion to be demoted before then being resources that Vivaldi succeeded in creating different lyricism and emotional intensity counts on many Which brings us back to the present recording, a finally abandoned. Witness the number – and quality moods, and with which he deployed a range of solu - other resources: in Leggi almeno, tiranna infedele , Caio selection of the most ravishing of Vivaldi’s arias for – of performances today of music from Vivaldi’s tions of such variety that they could be adapted effec - hands over to Cleonilla, his secret lover but also the soprano, each lovingly portrayed by Roberta instrumental output.