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FRANCESCO CAVALLI L'ipermestra FRANCESCO CAVALLI L’Ipermestra La Sfera Armoniosa Mike Fentross conductor Live recording 1 FRANCESCO CAVALLI L’Ipermestra La Sfera Armoniosa Mike Fentross conductor Ipermestra - Elena Monti soprano Linceo - Emanuela Galli mezzo soprano Elisa - Gaëlle Le Roi soprano Berenice - Marcel Beekman tenor Danao - Sergio Foresti bass Arbante - Mark Tucker tenor CD 1 FRANCESCO CAVALLI (1602-1676) L’Ipermestra (1654-1658) Atto Primo [1] Sinfonia from opera “Doriclea” 1645 by Franceso Cavalli 1:23 [2] Scena 1 Linceo, Ipermestra - Cortile regio 8:13 Elena Monti [3] Scena 2 Arbante 1:11 [4] Scena 3 Arbante, Elisa 3:58 [5] Scena 4 Elisa 1:17 [6] Scena 5 Elisa, Berenice 2:53 [7] Scena 6 Berenice 0:31 Gaëlle Le Roi [8] Scena 7 Danao, Ipermestra 8:24 [9] Scena 8 Ipermestra 5:18 [10] Scena 9 Linceo 2:58 [11] Scena 11 Linceo, Ipermestra 9:39 [12] Scena 12 Ipermestra 3:24 [13] Scena 13 Ipermestra, Berenice 0:52 [14] Scena 14 Ipermestra, Danao, Berenice sotto una portiera 7:15 [15] Scena 15 Berenice 3:54 total time 61:18 Emanuela Galli 4 Elena Monti 5 CD 2 CD 3 Atto Secondo Atto Terzo [1] Scena 1 Ipermestra, Elisa - Prigione 9:12 [1] Scena 1 instrumental 1:40 [2] Scena 2 Ipermestra, Berenice 4:30 [2] Scena 2 Ipermestra, Campagna della Torre 0:18 [3] Scena 3 Ipermestra 1:29 [3] Scena 3 Ipermestra 1:09 [4] Scena 4 Ipermestra, Arbante ch’osserva 4:53 [4] Scena 4 Ipermestra, Elisa 4:11 [5] Scena 5 Arbante, Elisa 1:23 [5] Scena 5 Arbante 3:12 [6] Scena 6 Arbante, Elisa, Danao 1:50 [6] Scena 7 Linceo 3:40 [7] Scena 7 Danao, Arbante 2:31 [7] Scena 8 Linceo, Elisa, Berenice 7:19 [8] Scena 8 Danao 2:28 [8] Scena 9 Elisa, Berenice 0:45 [9] Scena 9 Danao, Ipermestra 2:20 [9] Scena 10 Berenice 2:45 [10] Scena 10 Ipermestra 2:36 [10] Scena 11 Ipermestra sopra la Torre 6:03 [11] Scena 11 Ipermestra, Elisa, Berenice 5:11 [11] Scena 12 Ipermestra e Berenice sopra la Torre; Linceo in strada 1:00 [12] Scena 12 Ipermestra 1:38 [12] Scena 13 Berenice, Elisa 2:21 [13] Scena 21 Linceo 2:40 [13] Scena 15 Linceo, Ipermestra 0:46 [14] Scena 22 Linceo, Arbante 4:51 [14] Scena 16 Linceo, Ipermestra, Arbante 3:14 [15] Scena 23 Linceo 2:12 [15] Scena 17 Linceo, Ipermestra, Arbante, Elisa, Berenice 8:58 [16] Scena 24 Linceo, Elisa 0:41 [17] Scena 25 Linceo, Elisa, Berenice 1:10 total time 47:29 [18] Scena 26 Danao - Città d’Argo che abbrucia 1:36 [19] “Battalla de Barabaso yerno de Satana” 1650 by Andrea Falconieri 3:58 For booklet with Dutch translations of the libretto and extended biographies total time 57:22 please go to www.challengerecords.com/booklets/cc72774 6 7 L’Ipermestra The over 350 year-old manuscript of the opera L’Ipermestra was handed to me time. However, the main patron of this sign of alliance with the Spanish crown on a red velvet pillow in 2003 - the time during which there were hardly any was not the grand duke Ferdinand II de’ Medici, but his notorius brother, cardinal manuscripts on the internet and you still had to visit a library to see one... I was Giovan Carlo de’ Medici: relentless operagoer and patron of singers, musicians, in the manuscript room of the Venetian Marciana Library, one of the oldest and and academies. L’Ipermestra was one of his most important projects, and its origins, most beautiful libraries in the world. I was there pursuing both mine and Jan van hidden for centuries, has only recently come to light. den Bossche’s (former General director of the Utrecht Early Music Festival) dream to build a fully staged opera production from an old forgotten manuscript, buried An account of the opera printed in 1658 on the occasion of the performances in the cellars of an old Italian library. Gazing upon the handwriting belonging to reports that the cardinal asked for a scenic battle (abbattimento) to celebrate one of the most important 17th century Italian opera composers was as exciting, the Spanish prince’s birth. Moreover, since this battle had to be justified within as conducting the premiere of the production three years later. After our 2006 a dramatic context, the account states that he hastily commissioned the court production other conductors also found their way to the Cavalli treasures in the physician and poet Giovanni Andrea Moniglia (1624-1700) to write a play that would Marciana Library and other record labels recognised the beauty and importance of be appropriate for the occasion and would fit the abbattimento. The account reports his operas. I am very proud of all the singers and instrumentalists that performed that the poet wrote L’Ipermestra in a few days, after carefully choosing the “right” so well that night, that we were able to produce this cd from ONE SINGLE TAKE OF story for the occasion. Nevertheless, although the publicity for the 1658 premiere THE PREMIERE WITHOUT CORRECTIONS and add it to the wonderful collection of was so convincing that everyone believed the opera had been written just for that Cavalli’s opera cds that‘s been released up and until now... occasion, we have proof of the existence of Ipermestra already in 1654 – four years Mike Fentross prior to the Spanish prince’s birth. L’Ipermestra by Francesco Cavalli: A number of letters reveal that in that same year, between August and November, the love of a princess as a portrait of a grand duchess (Florence 1654-1658) Francesco Cavalli (1602- 1676) was in contact with his Florentine patrons, and, act after act, sent the opera to the grand-ducal court. Furthermore, the only extant In 1658, on the occasion of the recent birth of King Philip IV of Spain’s first son musical source of this opera, the composer’s autograph held in Venice, documents (prince Felipe Próspero), the Grand Duchy of Tuscany celebrated the royal event the compositional process, and in its final folios shows a sign of the opera’s earlier with one of the most magnificent operas ever staged in Florence: L’Ipermestra by conception. Instead of the prince’s name “Filippo,” which we find in the libretto Giovanni Andrea Moniglia and Francesco Cavalli. printed in Florence in 1658, the score contains a particularly meaningful female name. The opera was dedicated to “Vittoria,” clearly referring to the most important This opera originated from an unusual mix of court culture and the fashionable woman in the Grand Duchy of Tuscany at the time: the grand duchess Vittoria “opera alla veneziana,” one of the most in-vogue entertainments in Europe at the della Rovere. 8 9 Her name also appears in a manuscript libretto for L’Ipermestra, held in Rome, After being asked to kill her beloved husband Linceo (soprano) at the beginning that contains an early version of the opera close to Cavalli’s score. Its prologue of the first act (CD 1),1 Ipermestra comments on her father’s cruel request in (music lost) presents some lines that reveal the primary aim of this work: to celebrate a beautiful lament scene that ends with the aria “Piangete, occhi, piangete” the 33rd birthday of the queen of Florence (“della regina dell’Arno il gran natale”). (Track 09). She finally decides to save her love, and reveals her father’s plan to him. Moreover, together with the concomitant 1655 Carnival, the celebration perfectly Linceo, in his bewilderment, leaves, and she, alone on the stage, releases her pain fit with another project of the cardinal de’ Medici: the inauguration of the newly in the heartbreaking aria “Già che non ode il cielo” (Track 12). In a dynamic and built Teatro della Pergola, at the hands of the Accademia degli Immobili. He had theatrical scene Danao discovers his daughter’s betrayal and shows her his rage deployed all of his forces to build an up-to-date theater in which to stage modern (track 14). The first act ends with a comic scene by Ipermestra’s nanny Berenice (alto) operas with modern machinery and spectacular scene changes. However, due to who complains about Danao’s request, and finally foreshadows a happy ending delays in the building process, he postponed its opening until 1657, with a less (Track 15). complex dramma per musica, Il potestà di Colognole by Moniglia and the composer from Pistoia, Jacopo Melani. The Ipermestra project was revived around the end of At the beginning of the second act (CD 2), the lady-in-waiting Elisa (soprano) visits that year, when the cardinal activated a well-studied ‘recycling process’ after the Ipermestra in the prison where Danao has locked her up. She pines for her beloved birth of the Spanish prince, and thus the opera could finally be staged in 1658. Arbante (tenor), who felt in love with Ipermestra, but the princess soothes her: she will never love her own lady-in-waiting’s beloved. Ipermestra then sings Echoing the birth of a son to the Spanish king Philip IV after a long wait, which would sorrowfully about Linceo’s distance in a grieving passage starting with the words save the royal bloodline, L’Ipermestra tells the story of a royal lineage in danger, “Nel mar de’ miei tormenti” (Track 3). Arbante soon arrives at the prison to try eventually saved thanks to Divine Providence. However, the real center of the opera’s to seduce her, but she remains adamantly steadfast. At that moment, Elisa sees plot is the moral poignancy of the protagonist: Ipermestra (soprano) is the character Arbante in the jail cell and decides to reveal his love for Ipermestra to Danao, but around whom the story revolves.
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