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Antonio Vivaldi (1678-1741) Cessate, omai cessate, RV 684 Bella dama 1. Cessate, omai cessate [1:58] Baroque cantatas 2. Ah ch’infelice sempre [5:51] 3. A voi dunque ricorro [1:20] 4. Nell’orrido albergo ricetto di pene [3:34]

Raffaele Pé countertenor Nicola Porpora (1686-1768) Salve Regina Spiritato! 5. Salve Regina [4:34] 6. Ad te clamamus [1:58] 7. Ad te suspiramus [2:42] violin 1 8. Eia ergo, advocata nostra [1:24] Kinga Ujszászi 9. Illos tuos misericordes [3:16] James Toll violin 2 10. O clemens, o pia [2:33]

Joanne Miller viola Alessandro Scarlatti (1660-1725) Alice Manthorpe Saunders cello Bella dama di nome Santa 11. Introduttione [3:30] Kate Aldridge bass 12. Tu sei quella, che al nome sembri giusta [1:01] László Rózsa recorder 13. Dal nome tuo credei [3:22] 14. Fedeltade, ne pur ottien ricetto [1:36] Jadran Duncumb theorbo 15. Il nome non vanta di santa colei [3:56] harpsichord/organ Nicolás Mendoza Alessandro Scarlatti Infirmata vulnerata 16. Infirmata vulnerata puro deficit amore [5:23] About Raffaele Pé: 17. O care, o dulcis amor [0:46] 18. Vulnera percute, transfige cor [4:05] ‘[…] glorious sound, intense and dramatic eloquence’ 19. Cur, quaeso, crudelis es factus? [2:42] Il Corriere 20. Vicisti, amor, et cor meum [0:43] 21. Semper gratus desiderabilis [2:01] ‘[…] stand-out vocal talent was on display in young countertenor Raffaele Pé’ The Irish World Total playing time [58:29] Bella dama: Baroque cantatas could act as hostesses.

Forming a tribute to the image of the Lady Changes were considerable and highly (the bella dama), as represented in Italian visible; e.g. in Italy the death penalty was eighteenth-century music between Naples abolished while the powers of the Church and Venice, the four solo cantatas contained began to retract noticeably. The aristocratic in this recording exemplify the representation or otherwise wealthy grand tourists, travelling of women in both sacred and secular texts through southern Europe on their lengthy through this chamber medium. cultural finishing school recorded, albeit sometimes exaggerated and romanticised, The role of women in Italy had changed images of an Italian society that was substantially during a campaign of increasingly involved with the secular and considerable reform that began in the latter displaying inflated vanity and pomp. These half of the seventeenth century and, same grand tourists along with other travellers growing out of the Renaissance period, the often expressed admiration at the liberties – Age of Enlightenment was central to this both intellectual and social – granted to transformation. A movement that was women in Italy. While women were allowed particularly prominent in France, the Age of to become more liberal – the movement Enlightenment had grown rapidly becoming abandoned some ideas of tradition where the increasingly widespread. Begun mainly by fairer sex was concerned – they were still philosophers it contributed enormously to inextricably tied to their domestic roles as reforms in society – including the position of mothers, wives, keepers of the home and women, who were to take on new levels of upholders of the family reputation. And importance. The movement’s main purpose while women were to become increasingly though was to promote science and other vilified as objects of desire and curiosity, men intellectual exchange while being generally were, perhaps inevitably, still the greater opposed to superstitious beliefs, discrimination recipients overall of any benefits from the and the general dominance of the Church movement. and state. Alongside huge advances in science and society, ideas about arts and All forms of the arts were to undergo philosophy were discussed and developed, momentous changes under the Age of Raffaele Pé often consisting of regular meetings in Enlightenment, with architecture, paintings salons or coffee-houses, where women (both religious and secular), literature and – perhaps most importantly – musical works and were presented in the vernacular perfecting the already established cantata Infirmata vulnerata in which the singer tells undergoing prodigious evolution. Women Italian, while those works with sacred texts form, writing close to 600 works in the genre of unrequited love, also a text by an unknown generally become more prominent in works occasionally used the more traditional Latin, spread over his lifetime as a composer, in author. However, as the cantata unfolds, the of art, with a greater use of the nude in sometimes designated as cantata de addition to over 100 operas – a medium for grim complexion of the work gradually lifts a paintings and an increasingly prolific number chiesa (church cantata) or solo antiphons. which he was in huge demand. Even though little as the singer allows himself to feel hope of secular musical works including opera and The solo cantata was perhaps the leading form these works were popular with both amateur that his wishes may eventually be fulfilled. As the solo cantata (or cantata da camera). The of chamber music in Italy in the early part of and professional musicians, the quality of in Bella dama frustrations are, perhaps genre of opera – where all forms of the arts the eighteenth century and, significantly, they the music and some of the texts employed surprisingly, controlled throughout with no united into one medium, often framed by were written for, and equally popular with, were prone to being quite variable but, sense of chaos or fervent anger. Here though, spectacular architecture of the buildings both professional and amateur musicians, nevertheless, were never written in a the mood of desolation is expertly portrayed, where they were produced – experienced often used in domestic situations. compromising or simplistic style. as is the infatuation and compelling worship rapid growth, with the city of Venice of the fabled woman. possessing no fewer than seventeen opera Central to these leaps forward in Italian The decorated, florid and almost constantly houses at its height. music was the eldest of the three composers lyrical style that typifies the peak of the While Antonio Vivaldi’s output of cantatas represented here, Alessandro Scarlatti (1660- Baroque cantata is much in evidence was not as prolific as that of Scarlatti – he is It was alongside these developments in the 1725). His contribution as a composer, and throughout the two cantatas by Scarlatti more widely remembered for composing Baroque opera genre that its close relation also as a teacher of younger generations, featured here. In Belle dama di nome Santa concertos, of which he wrote over 500 – his the solo cantata also began to emerge. was nothing less than considerable. the deceptively sweet sounding introduction, contribution to the genre is nonetheless Elements of the solo chamber cantata and Surprisingly little scholarship has been featuring the recorder, belies the mood of significant, and particularly known for its its structure and development can be traced undertaken about his life and output, with what follows, as the singer states his disgust high quality. With a number of questionable back to late madrigals by Claudio Monteverdi, some of the limelight being shared by his with his former lover, the Bella dama, who attributions, the exact total of Vivaldi’s solo with various contributions to the cantata son and composer Domenico as well as, has spurned him, stating how she is not cantatas is not entirely definitive, with certain also coming from such names as Giacomo latterly, living in the considerable shadow deserving of her name, Santa (literally extant works thought to number in the Carissimi, Francesco Cavalli and Alessandro of Antonio Vivaldi (1678-1741). meaning sainted). With typical use of the region of thirty-six, while his operas number Stradella, particularly in the lyrical recitative and the da capo aria, the slightly closer to fifty. Famed for spending much of development and style that dominated the Sicilian by birth, Scarlatti’s career was centred unusual character of the music masks the his career working in Venice, Vivaldi’s music peak of the genre in the early-eighteenth around Rome and Naples, and he is often level of vitriol and anger contained in the was influential and popular during his century. Many cantatas were composed for regarded as the spearhead of Neapolitan text, while Scarlatti treats us to a glimpse lifetime, but was largely neglected until its continuo and voice only, while others were opera, pioneering the construction and the of humour with the occasional musical joke, rediscovery, with new discoveries of lost accompanied by larger groups including use of the aria and recitative as well as such as the sudden jolt into the minor at works still occurring today. violins, sometimes joined by viola and one developing the use of the orchestra. A the word ‘l’error’. or more wind instruments. A significant much celebrated figure in his own lifetime; Vivaldi’s favoured structure for the solo number of chamber cantatas were secular Scarlatti’s contribution was pivotal in A darker mood prevails from the opening of cantata was Recitative – Aria – Recitative – Aria, and Cessate, omai cessate, RV 684, is no Marian antiphon text of the Salve Regina, the exception to this particular pattern. The text, structure and also the overall quality of the by an unknown author, returns to the work is largely different from its secular theme of love lost. The opening introduction equivalent. There is particular calm and sense gives way to an accompanied recitative of adoration in this hymn that reveres the providing a somewhat torn denunciation of Blessed Virgin Mary. Of unknown certain the former lover. The first aria sees a lament origin, this comparatively short text was for the lost love from the singer before a traditionally sung at Compline between mournful recitative precedes the angry Trinity Sunday and Advent and is considerably closing aria, in which the passionate emotions stretched by Porpora to form a relatively of the singer come to the fore. extended work. The opening ‘Adagio’ is dominated by the decorated word painting By far the youngest of the three composers and lyrical melisma on the word ‘salve’ (hail), featured here is Nicola Porpora (1686-1768). while the ‘Allegretto’ of ‘Ad te clamamus’ Born in Naples, Porpora had a varied, yet that follows shows agitation as cries of celebrated career as an opera composer and anguish are sent to Mary, before the cries teacher of singing which saw him work in become pained sighs. Hope returns with a variety of major cities beginning at the ‘Eia ergo, advocata nostra’ as Mary is asked Neapolitan court and subsequently in Venice, to look kindly towards us, before the elegant London, Rome, Vienna and Dresden before and beautiful conclusion that talks of the returning to his native Naples. Among his ‘sweet Virgin Mary’, with a return to the many pupils were the celebrated castrato extended melismas of the opening. Faranelli and the composer Franz Joseph Haydn. His reputation during his own © 2012 Andrew Benson lifetime was sizeable and widespread, particularly in the field of opera, and in Raffaele Pé and Spiritato! record in St John’s Church, Notting Hill Gate, London 1733 he was invited to take on Handel at London’s King’s Theatre, resulting in a three year stay in the city. Porpora composed more than forty operas, while also writing well over 100 secular and sacred solo cantatas.

With no narrative contained in the ancient Texts Cessate, omai cessate (continued) Antonio Vivaldi Cessate, omai cessate, RV 684 3. A voi dunque ricorro, 3. So to you, orridi spechi, taciturni orrori, hopeless places, soundless horrors, 1. Cessate, omai cessate 1. Cease, henceforth stop solitari ritiri ed ombre amiche; solitary caves and friendly shadows, rimembranze crudeli savage memories tra voi porto il mio duolo, that I come with all my sorrow, d’un affetto tiranno; of a potent love; perché spero da voi quella pietade because I hope that you will have compassion, già barbare e spietate heartless and remorseless, che Dorilla inumana non annida. that cannot be seen in thankless Dorilla. mi cangiaste i contenti you have changed my joy Vengo, spelonche amate, I come, dear caves in un immenso affanno. into intense regret. vengo, spechi graditi, I come, hospitable places, Cessate, omai cessate Cease, henceforth stop alfine meco involto until at last, destroyed by my grief, di lacerarmi il petto, to tear up my soul, in mio tormento in voi resti sepolto. I will entomb myself there. di trafiggermi l’alma, to penetrate my spirit, di toglier al mio cor riposo e calma. to steal peace and serenity from my heart. 4. Nell’orrido albergo, 4. In this terrible sanctuary, Povero core afflitto e abbandonato, Woeful, battered and abandoned are you, my heart, ricetto di pene, hiding from my sorrow, se ti toglie la pace if a domineering passion potrò il mio tormento I shall be able let go un affetto tiranno, can deprive you of calm sfogare contento, of my pains, perché un volto spietato, un’alma infida because a merciless expression, a unfaithful spirit, potrò ad alta voce and call out la sola crudeltà pasce ed annida. shelters and fosters nothing but malice. chiamare spietata ‘hardhearted and Dorilla l’ingrata, thankless Dorilla’, 2. Ah, ch’infelice sempre 2. Ah, ungrateful Dorilla morire potrò. and perish. mi vuol Dorilla ingrata, wants me to continue suffering; ah, sempre più spietata ah, always more unmercifully Andrò d’Acheronte I'll go to the grim m'astringe a lagrimar. she induces my tears. su la nera sponda, edges of Acheron, tingendo quest’onda soiling that river Per me non v’è ristoro, For me there is no cure, di sangue innocente, with innocent blood, per me non v’è più spene. for me no more hope. gridando vendetta crying out for vengeance E il fier martoro e le mie pene, Only death will quench ed ombra baccante and, like the dark Bacchante, solo la morte può consolar. my pain and sadness. vendetta farò. I will exact revenge. Nicola Porpora Bella dama di nome Santa (continued) Salve Regina 13. Dal nome tuo credei, 13. With your name I thought 5. Salve, Regina, Mater misericordiæ, 5. Hail, holy Queen, Mother of Mercy, che fosse in te pietà, that you would be merciful, vita, dulcedo, et spes nostra, salve. our life, our sweetness and our hope. giustizia, e fedeltà, fair, and faithful, ma vidi poi l’error. but then could see my error. 6. Ad te clamamus exsules filii Hevæ. 6. To thee do we cry, poor banished children of Eve. Pietosa se tu sei, il cor If you are merciful, perché piagarmi? why is my heart troubled? 7. Ad te suspiramus, gementes et flentes 7. To thee do we send up our sighs, Se giusta, a che sprezzarmi, If you are fair, why does my heart fall apart in hac lacrimarum valle. mourning and weeping in this valley of tears. se non t’offese il cor? Perhaps it displeased you?

8. Eia, ergo, advocata nostra, 8. Turn then, most gracious advocate, 14. Fedeltade ne pur ottien ricetto 14. Fidelity is not a cure fel barbaro petto, to your savage soul, 9. Illos tuos misericordes oculos ad nos 9. thine eyes of mercy toward us; che se fedel tu fossi, a che crudele if you were loyal, what is to be gained converte; et Jesum, benedictum fructum and after this our exile, esser così con chi non è infedele? in being brutal with one who has not strayed? ventris tui, nobis post hoc exsilium ostende. show unto us the blessed fruit of thy womb, Jesus. I numi, si, si numi, The gods, yes the gods volgon pietosi i lumi look mercifully 10. O clemens, O pia, O dulcis Virgo Maria. 10. O clement, O loving, O sweet Virgin Mary. a chi gl’offre devoti, on one who gives venerations, incenzi, prieghi, e voti. incense, prayers, and offerings. Ma tu barbaro core But you, cruel heart, Alessandro Scarlatti non ascolti li prieghi, do not pay heed to prayers, Bella dama di nome Santa e pietade anche nieghi and also withhold compassion a chi sol per pietà to one who solely with loyalty 12. Tu sei quella, che al nome 12. Are you her, that in name ti chiede amore. desires love for you. sembri giusta, pietosa, e delli numi is just, merciful, and in you is ogni perfezzion in te riserbi? all the purities of the gods? 15. Il nome non vanta 15. The name does not talk E come bella, e come Then how can it be, comely one, that di santa colei of saintliness in her se al girar de tuoi lumi, when you turn away your eyes ch’al par degli Dei, who does not feel mercy non dai se non tormenti, you can afford only pain, non sente pietà, like the gods, pene, e cordogli acerbi? grief, and harsh sorrow? ma il nome d’austera, but is a name of cruelty, Ahi! non bene convienti Ah! a name like yours does not suit you, di fiera tiranna, and arrogant despotism, un nome tal se con dolor discerno with heartbreak I can see ch’uccide, che inganna, that destroys, and manipulates, che il nome tuo è mio tormento eterno. that your name is my unending torture. con cruda empietà. with savage viciousness. Raffaele Pé Alessandro Scarlatti Increasingly in demand on European opera Infirmata vulnerata Raffaele Pé is quickly establishing himself as stages, future engagements include Scarlatti’s one of the finest Italian countertenor of his Venere Amore e Adone in Rome, collaborations 16. Infirmata, vulnerata 16. Feeble, bruised, generation. Acclaimed for the pureness and with the renowned Milan orchestra La Verdi, puro deficit amore it yearns for true love the beauty of his voice he has already Monteverdi’s Orfeo in Krakow and Bucharest et liquescens gravi ardore and, dissolving with powerful adoration, performed and recorded with many leading and Ottone in Monteverdi’s L’incoronazione di languet anima beata. my soul aches. conductors. These include Sir John Eliot Poppea as part of La Venexiana’s 2014 Gardiner, Paul McCreesh, Nicholas McGegan, Japanese tour. Bella dama will be his first solo 17. O care, o dulcis amor, 17. Beloved, sweet love, Christophe Coin and Claudio Cavina. He recording for Resonus Classics. quomodo mutatus es mihi in crudelem, how can you be so harsh to me, has appeared at London Spitalfields, quem numquam agnovisti infidelem? as you know I have never been untrue? Kings Place, Aldeburgh Festival, Bologna Festival, Amuz Antwerp, Festival van 18. Vulnera percute, transfige cor. 18. Injure me, perforate my heart. Vlaanderen, Salisbury Art, Brixen Geistliche Tormenta pati non timeo. I am not scared to suffer torture. Musik and PaviaBarocca.

19. Cur, quaeso, crudelis 19. Why, I ask, brutal one, Born in Italy, he started his studies in singing es factus gravis? are you now so cruel? and organ when he was a chorister in Lodi Sum tibi fidelis, I am true to you, Cathedral, from the age of six under Pietro sis mihi suavis. have mercy on me. Panzetti. Continuing his training in London with Colin Baldy and Nicholas Clapton, he 20. Vicisti, amor, 20. Love, you have overcome me, was chosen by Sir John Eliot Gardiner for the et cor meum cessit amori. and my heart succumbs to love. Monteverdi Apprentices scheme in 2009.

21. Semper gratus, desiderabilis, 21. Always charming, always delectable, Recent highlights include, Isaac in Charpentier’s semper eris in me. you will always be mine. Sacrificium Abrahae and Pastore and Speranza Veni, o care, totus amabilis, Come, my beloved, perfectly loveable, in Monteverdi’s Orfeo for La Nuova Musica, in aeternum diligam te. I will love you for evermore. Handel Duets with La Venexiana, Bach Christmas Oratorio with Christophe Coin and the Ensemble Baroque de Limoges, Handel’s Israel in Egypt with Nicholas McGegan and Cappella Savaria, and appearances at the side of Marco Beasley in Handel’s Joshua, Judas and Esther. Spiritato! More titles from Resonus Classics

Spiritato! is an exciting and dynamic group Fantasticus: Baroque chamber works of young musicians based in London, Fantasticus performing music from the seventeenth RES10112 and eighteenth centuries. Spiritato! ‘A delightful debut recording [...] provides many www.spiritato.co.uk Founded in 2008, the group has sought to moments to relish’ challenge and delight audiences with Musical Pointers innovative programmes featuring lesser- known composers alongside more established names. The group has a special interest in English Restoration theatre music, In The Dark and has recently been exploring this vibrant Platinum Consort and unusual branch of Baroque music. Scott Inglis-Kidger RES10110 Recent performances have included White Night at the Brighton Early Music Festival ‘This intimate music-making draws you in in 2011, and a live broadcast of music by gently but ineluctably’ BBC Music Magazine Henry Purcell and Godfrey Finger on In Tune for BBC Radio 3.

In addition to recording with countertenor Raffaele Pé, the summer of 2012 saw Spiritato! © 2012 Resonus Limited tour the south-west of France. è 2012 Resonus Limited Recorded in St John’s Church, Not ting Hill Gate, London on 30 June and 4-6 July 2012 by kind permission of the vicar and churchwardens. Members of the group can often be found Producer, Engineer and Editor: Adam Binks working with period instrument ensembles Assistant Engineer: Steven Binks Orchestra manager: William Russell across the UK and Europe, including the Recorded at 24-bit / 96kHz resolution Orchestra of the Age of Enlightenment, Cover image: With Closed Eyes (1890), by Odilon Redon Orchestre Révolutionnaire et Romantique and the Gabrieli Consort and Players. DDD – MCPS RESONUS LIMITED – LONDON – UK

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