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FRANCO FAGIOLI Leonardo Vinci FRANCO FAGIOLI Leonardo Vinci IL POMO D’ORO · ZEFIRA VALOVA FRANCO FAGIOLI Leonardo Vinci IL POMO D’ORO · ZEFIRA VALOVA 2 LEONARDO VINCI (1690–1730) 8 Nave altera, che in mezzo all’onde / 4:07 Gismondo re di Polonia, Act I, Scene 8 · Sung by Antonio Barbieri as Primislao 1 Sembro quell’usignolo* / 4:29 Also sung 1729 in L’abbandono di Armida (Venice, Teatro San Giovanni Grisostomo; Il trionfo di Camilla, Act III, Scene 5 music by Pollarolo and others) by Caterina Giorgi as Clorinda (Act III, Scene 7) Libretto: Silvio Stampiglia & Carlo Innocenzo Frugoni 1725, Parma, Teatro Ducale · Sung by Faustina Bordoni as Camilla 9 Nube di denso orrore* / 6:06 L’Ernelinda, Act I, Scene 5 · Sung by Carlo Scalzi as Vitige 2 Più non so finger sdegni* / 6:00 Also sung 1727 in Gismondo re di Polonia (Act III) Il trionfo di Camilla, Act III, Scene 14 · Sung by Faustina Bordoni as Camilla by Giacinto Fontana (Farfallino) as Cunegonda Also sung 1725 in Elpidia (London, Haymarket; music by Vinci, Orlandini, Lotti, Handel) by Francesca Cuzzoni as Elpidia 10 Sull’ali del suo amor* / 4:11 L’Ernelinda, Act III, Scene 10 · Role: Rosmeno 3 Ove corri? Ove vai? / 1:23 4 Sorge talora fosca l’aurora / 6:15 11 Vil trofeo d’un’alma imbelle* / 4:18 L’Ernelinda, Act II, Scene 7 · Libretto: Francesco Silvani & Carlo de Palma Alessandro nell’Indie, Act I, Scene 3 · Libretto: Pietro Metastasio 1726, Naples, Teatro San Bartolomeo · Sung by Carlo Scalzi as Vitige 1730, Rome, Teatro delle Dame · Sung by Raffaele Signorini as Alessandro Also sung, without recitative, 1725 in Il trionfo di Camilla (Act II, Scene 12) by Faustina Bordoni as Camilla 12 Scherzo dell’onda instabile* / 3:57 Medo, Act I, Scene 11 · Libretto: Carlo Innocenzo Frugoni 5 Gelido in ogni vena / 9:10 1728, Parma, Teatro Ducale · Sung by Carlo Broschi (Farinelli) as Giasone (Climaco) Siroe re di Persia, Act III, Scene 5 · Libretto: Pietro Metastasio Also sung 1729 in Leonardo Leo’s Catone in Utica (Venice, Teatro San Giovanni 1726, Venice, Teatro San Giovanni Grisostomo · Sung by Giovanni Paita as Cosroe Grisostomo) by Farinelli as Arbace (Act III, Scene 3) 6 Quell’usignolo ch’è innamorato* / 5:53 13 O da me troppo offesa / 1:11 Gismondo re di Polonia, Act I, Scene 15 · Libretto: Francesco Briani 14 Sento due fiamme in petto / 9:53 1727, Rome, Teatro delle Dame · Sung by Filippo Balatri as Ottone Medo, Act II, Scene 4 · Sung by Farinelli as Giasone (Climaco) 7 Barbara mi schernisci / 4:18 La Rosmira fedele (Partenope), Act III, Scene 3 · Libretto: Silvio Stampiglia FRANCO FAGIOLI countertenor 1725, Venice, Teatro San Giovanni Grisostomo · Sung by Carlo Scalzi as Arsace IL POMO D’ORO · ZEFIRA VALOVA Also sung 1725 in Elpidia (Act III, Scene 6) by Francesco Bernardi (Senesino) as Olindo *World premiere recordings 3 IL POMO D’ORO Violin I Bass Zefira Valova Grigorii Krotenko (concertmaster) Lucia Giraudo Harpsichord Heriberto Delgado Federica Bianchi Maria Grokhotova Theorbo Veronica Böhm Gianluca Geremia Violin II Flute & Oboe Dimitrios Karakantas Shai Kribus Daniela Nuzzoli Amy Powers Mauro Spinazzè Alessia Pazzaglia Bassoon Andrea Bressan Viola Jane Rogers Trumpet Lola Fernandez Matteo Frigé Mateos Matteo Macchia Giulio D’Alessio Horn Cello Fabio Forgiarini Ludovico Minasi Daniele Bolzonella Cristina Vidoni Timpani Danilo Grassi Zefira Valova plays a violin by Lorenzo and Tomaso Carcassi (1760), kindly provided by Jumpstart Jr. Foundation. 4 ously been set by, among others, Sarro in 1722. Vinci reused Sarro’s recita- “A STAR CHANGING tives (standard practice was to write new recitatives) but composed new arias for the occasion. The singer cast as Arsace, Carlo Scalzi, worked with Vinci many times between 1725 and 1730, playing both Turno in Il trionfo di ITS APPEARANCE” Camilla (1725) and Vitige in L’Ernelinda (1726). Of Rosmira’s five “primo uomo” arias, “Barbara mi schernisci” sees Arsace lamenting the scorn directed at him by Princess Rosmira: notable for its minor mode, slow tempo and dot- Of travelling castratos, ted rhythms, it reaches its expressive peak in the unexpected modulations of the second section. The aria was recycled by Handel in 1725 in London prima donnas and arias for the pasticcio Elpidia, where it was performed by a singer of the previous generation, Francesco Bernardi (known as “Senesino”). Vinci’s Il trionfo di Camilla was staged in Parma in the spring of 1725. The libretto, again by Stampiglia, was adapted for Vinci by Carlo Innocenzo mong the composers of the “Neapolitan School”, Leonardo Vinci is seen Frugoni, then in the service of Duke Francesco Farnese. It was the duke who A as one of the purest exponents of the pre-galant style which developed brought to Parma the cast from Rosmira fedele, chief amongst whose ranks around 1720 – a musical language closely associated with the emergence of was Faustina Bordoni, favourite singer of Johann Adolf Hasse – and his a new generation of performers who adopted the ornamented style of sing- future wife – who played the title role, Camilla, Queen of the Volsci. In ing known as canto fiorito. Unlike a composer such as Leonardo Leo, who “Sembro quell’usignolo”, the queen, disguised as a shepherdess, compares attempted to combine the contrapuntal legacy of the late Baroque with the herself to a bird who longs for freedom but has to contend with an impend- new style, Vinci employed all the key linguistic elements of the latter: a ing threat. The composition combines the usual da capo aria structure with focus on the melodic line, a slowing of harmonic rhythm, standardized forms fugato technique. In the gentle, pastoral “Più non so finger sdegni”, Camil- of accompaniment and plenty of ornamentation. In the first part of his la, her land reconquered, resolves not to take revenge on the man who career he applied these stylistic traits to comic opera, a genre to which he usurped her throne. This aria too reappeared in Elpidia, where it was sung dedicated himself until 1724. Thereafter he focused on dramma serio, playing by Faustina’s great rival Francesca Cuzzoni. a fundamental role in the success of Metastasio’s early librettos: he was In Siroe re di Persia, staged in Venice in 1726, King Cosroe was played by the second composer to set Didone abbandonata (the first was Domenico tenor Giovanni Paita. His performance was heard by Johann Joachim Quantz, Sarro) and the first to set Siroe re di Persia, Catone in Utica, Semiramide ricon- who praised him for his ability “to combine the head and chest registers”, as osciuta, Alessandro nell’Indie and Artaserse. well as for his mastery in performing adagios and his measured use of canto The libretto of Vinci’s sixth serious opera, La Rosmira fedele (Venice, car- fiorito. In an age dominated by castratos, Paita helped establish the tenor nival season 1725), was written in 1699 by Silvio Stampiglia and had previ- voice, specializing in playing kings and tyrants. In the manuscript used for 5 this recording, “Gelido in ogni vena”, although in the original key, is written inserted by Farinelli into Leo’s version of Catone in Utica (1729), whose in the soprano clef, and so its reuse for a castrato voice in another context Metastasian libretto had first been set by Vinci himself a year earlier. For cannot be excluded. The traveller Jean-Claude Richard de Saint-Non defined once, the storm represented in the aria is not a metaphor for a psycho- arias such as this as arie d’ostinazione, where a persistent accompaniment logical condition, but a depiction of reality: in this scene, Giasone-Farinelli figure – in this case, semiquavers in the second violins – symbolizes a natural “steers his storm-damaged vessel to shore, then disembarks”. “Sento due phenomenon, here the feeling of fear making the blood run cold. fiamme in petto” has an entirely different function, in which Giasone con- “Sorge talora fosca l’aurora” was sung by Carlo Scalzi in L’Ernelinda fesses his heart is torn between his old flame Medea and the new woman (Naples 1726), an opera based on Francesco Silvani’s libretto La fede tradita in his life, Enotea, unaware that the latter is none other than Medea in e vendicata (1704), adapted for Vinci by Carlo de Palma. In L’Ernelinda the aria disguise. is preceded by the recitativo accompagnato “Ove corri? Ove vai?”, in which In the 1729/30 season Vinci was commissioned by Rome’s Teatro delle Vitige despairs at the thought that the woman he loves, Ernelinda, is his Dame to set two Metastasio librettos, Alessandro nell’Indie and Artaserse. The enemy and his friend Ricimero has become his rival; the aria, in which he protagonist in both works was played by Raffaele Signorini, an alto cas- begins to hope again, had already been entrusted by Vinci a year earlier to trato sometimes listed as a soprano. Alessandro’s aria “Vil trofeo” sets up Faustina in Il trionfo di Camilla. “Nube di denso orrore”, on the other hand, a virtuosic contest between voice and trumpet, but in the da capo section was newly written for Scalzi in L’Ernelinda and then reappeared in Gismondo surprisingly dark, minor-key nuances replace the conventionally heroic tone. re di Polonia (Rome 1727) which, like L’Ernelinda, is set in medieval Europe. In Artaserse proved to be Vinci’s last opera – the composer died suddenly Gismondo it was sung by Giacinto Fontana, known as “Farfallino”, playing the in mysterious circumstances (possibly killed in revenge for an illicit love female role of Cunegonda. affair). The void left by his premature demise was primarily filled by Hasse, A total of six arias from L’Ernelinda were reused in Gismondo, but “Nave destined to become the Metastasian composer par excellence, achieving altera” and “Quell’usignolo” were newly composed for the later work.
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