Roberta Invernizzi soprano I Turchini Alessandro Ciccolini, first violin (leader) Tommaso Rossi, recorder Patrizio Focardi, Paolo Cantamessa, first violins Marco Piantoni, Nunzia Sorrentino, Massimo Percivaldi , second violins Rosario Di Meglio, viola Rebeca Ferri, violoncello & 2nd recorder Eva Sola, violoncello Giorgio Sanvito, double bass Patrizia Varone, harpsichord Antonio Florio, direction ––––– Recorded in Naples (Sala del Vasari, Chiesa di S. Anna dei Lombardi) on May 31 and 1-2 June 2012 Engineered and produced by Rino Trasi | Executive producer and editorial director: Carlos Céster Texts and iconographical research: Giulia Veneziano | Design: oficinatresminutos.com Translations: Avril Bardoni ( eng ), Pierre Élie Mamou ( fra ), Susanne Lowien ( deu ) Editorial assistance: María Díaz | Photographs of Roberta Invernizzi: Irene de la Selva © 2013 note 1 music gmbh Ringraziamo l’Arciconfraternita di S. Anna e S. Carlo Borromeo dei Lombardi, Napoli ‘Sirene’ – Viaggi musicali di celebri cantanti A series directed by Dinko Fabris and Antonio Florio Musicological consultant: Juan José Carreras 06 un guardo solo ancor 8:07 vol. 1 [Camilla – Leonardo Vinci, Il Trionfo di Camilla . Parma, 1725 ] ––––– 07 raggio amico di speranza 6:21 [Cleofide – Nicola Porpora, Poro . Turin, 1731 ] I Viaggi di Faustina 08 Sinfonia (Allegro – Andante staccato – Allegro) 5:20 [Francesco Mancini, Traiano . Naples, 1723 ] Faustina Bordoni’s journeys to Naples 09 tortora che il suo bene 4:29 [Rosmira – Domenico Sarro, Partenope . Turin, 1722/23 ] 01 son prigioniera d’amore 5:23 10 non ti minaccio sdegno 3:03 [Cleofide – Nicola Porpora, Poro . Turin, 1731 ] [Marzia – Leonardo Vinci, Catone in Utica . Naples, 1732 ] 02 scendi da questo soglio 2:54 11 ecco mi parto / qual rusceletto 3:59 [Camilla – Leonardo Vinci, Il Trionfo di Camilla . Parma, 1725 ] [Leonardo Vinci, Cantata “Parto ma con qual core” . Naples, 1723 ] 03 canta e dì caro usignolo 4:59 12 Concerto per flauto e archi (Amoroso – Adagio – Allegro) 6:05 [Giulia – Francesco Mancini, Traiano . Naples, 1723 ] [Domenico Sarro] 04 Sinfonia (Presto e staccato – Largo – Presto forte e staccato) 2:42 13 spera sì, mio caro bene 3:24 [Nicola Porpora, Agrippina . Naples, 1708 ] [Giulia – Francesco Mancini, Traiano . Naples, 1723 ] 05 confusa, smarrita 3:21 14 lasciami un sol momento 6:21 [Marzia – Leonardo Vinci, Catone in Utica . Naples, 1732 ] [Rosiclea – Antonio Maria Bononcini, Rosiclea in Dania . Naples, 1721 ] 4 5 i viaggi di faustina faustina’s journeys to naples his opere serie were scheduled. Farinelli was performing Faustina’s journeys to Naples in the first, Artaserse , opposite Francesca Cuzzoni; the protagonist in the second, Dalisa , was, for the first Giulia Veneziano time, Faustina Bordoni (who also sang in Hasse’s Arminio in Milan later the same year.) The two women had just been involved in a scandalous series of disputes on and In the splendid old theatre of San Bartolomeo the off the stage during seasons directed by the other “belo - busy autumn season of 1732 had just drawn to a trium - ved Saxon”, Georg Friedrich Handel, for which they phant close with the premiere of Issipile by Johann were dubbed the “rival queens”. Adolph Hasse. Known to everyone as “il Sassone”, Bordoni and Hasse were already famous through- even though he was not in fact a native of Saxony, out Europe (Hasse’s fame was boosted in German having been born, in 1699, near Hamburg, Hasse was territories by the great flautist Quantz whom he had the new star in the European musical firmament follo - met soon after arriving in Naples and who was later to wing the premature death of Leonardo Vinci, and the be a colleague at the court of Dresden) when they Neapolitans had shown yet again their enthusiasm for pulled off what would now be considered a breathtaking the relatively young (at 32) composer who, having been publicity stunt by marrying secretly in Venice in July sent to Naples by the Duke of Braunschweig- 1730, a step made possible by the fact that Hasse, a Wolfenbüttel to further his education, had realised his Lutheran, had converted to catholicism on his arrival dream of becoming a student of the great Alessandro in Italy six years earlier. Their artistic union having Scarlatti in 1724. acquired almost legendary status, both were engaged At this time Naples was one of the European capi - for an indeterminate period by Dresden’s ambitious tals of music and shared with Venice the status as the hereditary prince, August the Strong, prince elector of vibrant centre of Italian opera. Hasse’s Neapolitan Saxony and King of Poland. The unusual contract was debut had come early, in 1725, with his serenade sealed by an extravagant production in the court theatre Marc’Antonio e Cleopatra , in which the lead role was of Cleofide in September 1731 (with its libretto by sung by the castrato Carlo Broschi known as Farinelli. Metastasio it became better known as Alessandro Over the following five years the German composer nel’Indie or sometimes Poro ). As would be the case with regaled his Neapolitan audiences with two comic operas, most of her husband’s operas, Faustina was the prota - six intermezzi and three serenades besides several can - gonist. But after four performances and several private Rosalba Carriera (1673-1757), Faustina Bordoni (c .1730). tatas and concertos for various instruments. He then concerts, the couple were given permission to return Museo del Settecento Veneziano, Venice. album/akg-images moved to Venice for the 1730 season for which two of to Italy, where they stayed for three years before settling 6 english | 7 i viaggi di faustina faustina’s journeys to naples permanently in Dresden on the accession of a new have seemed like a dream come true. She was to take who after his premature death acquired the reputation dows the future of Faustina’s husband, Hasse, the foreig - monarch, Friedrich August II of Poland and Saxony. part in the annual celebration of the birthday of the of being a womaniser and inveterate gambler) that ner that Naples would release so that he could marry The first months of their return to Venice had emperor Charles VI, who had sent his court composer Faustina seemed to establish the most intense artistic her and take her to the land of her birth. passed in a flash. On the way they had stopped in Antonio Maria Bononcini from Vienna specifically for liaison, becoming the principal interpreter for many In the 1723 season the new opera at the San Turin, but the other, south-bound leg of their journey the occasion. The performance was to take place in years of a number of his operas both in Naples and Bartolomeo was withdrawn and was replaced by the was particularly important, with two operas scheduled the great hall of the royal palace, which the Viceroy, elsewhere (in 1725, for example, she sang in Ifigenia in previous year’s La Partenope . An unprecedented event for Naples. As she prepared to leave the city for the Marcantonio Borghese, had had sumptuously decora - Tauride and La Rosmira fedele in Venice and, in Parma, that was an indication of the exceptional success of second time after the 1732 performances, Faustina ted. Invitations had been sent to the most important Il trionfo di Camilla ). After his death she was recalled Sarro’s work, a success that gave rise to the suspicion Bordoni Hasse could look back on the early years of lords and ladies of the city. Faustina was to sing the to Naples expressly for his Catone in Utica in 1732. She of collaboration on the part of Vinci who had assisted her career when here in Naples she had had the first role of Queen Rosiclea. According to the Gazzetta di struck up another and even more significant relation- the composer in various assignments in the city and of the successes that led to the crucial events in London Napoli dated 7th September, the opera had a great suc - ship in Naples with another contemporary, one destined been asked by him to adapt La Partenope for Rome, and Venice. cess, and this was repeated in its second performance for huge fame: the abbé Metastasio. Born in Rome, where the original had been unsuccessful in 1724. (One which took place immediately afterwards in San Metastasio made his debut in Naples with the verses should remember that in Rome women were not allowed pq Bartolomeo. for a serenade the year before Faustina’s arrival, and to perform in the public theatres, so the impact could For the twenty four year old Faustina this was the later was frequently involved with the most important never be the same as in Naples.) The Naples press des - Born in Venice in 1697, into a family in the employ of start of a thrilling time that she would remember for works of Bordoni and Hasse, especially after the death cribed the success unequivocally in these terms: Elisabetta Lombria – an aristocratic patron devoted to the rest of her life. She revelled in the consistently of Vinci in 1730. “On the evening of Wednesday [9th December music – Faustina was lucky enough to be able to study warm climate, in the sea reflecting the coastline of In the city whose foundation myth ascribed its 1722] the curtain rose on the new opera at the theatre singing with masters such as Gasparini and Benedetto Posillipo and in the islands strung out like pearls in the birth to the siren Partenope, Faustina was by now being of San Bartolomeo, called La Partenope , from the most Marcello as well as the castrato Antonio Maria Bernacchi. blue water, and in the cooking which had taken the hailed as the “new siren”. She left the city briefly in learned pen of the renowned Silvio Stampiglia, court Opportunities to make and to hear music were abundant most exclusive dishes from France and the most piquant 1722 for an engagement in Bologna, in an opera by poet to his Caesarean Catholic Majesty [...], set to in a city alive with the works of Pollarolo, Albinoni, flavours from the Mediterranean.