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Paisiello Album Arias for Castrato Filippo Mineccia Countertenor

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Paisiello Album Arias for Castrato Filippo Mineccia Countertenor The Paisiello Album Arias for Castrato Filippo Mineccia countertenor Divino Sospiro violin I Fabio Ravasi (concertino), Iskrena Yordanova, Boris Begelman, Heriberto Delgado violin II Francesco Colletti (concertino), Malina Mantcheva, Giancarlo Ceccacci, Valeria Caponnetto viola Miriam Macaia, Lucio Studer violoncello Marcello Scandelli (concertino), Ana Raquel Pinheiro double bass Marta Vicente oboe Pedro Castro, Luis Marques bassoon Giulia Breschi, Vera Dias horn Ermes Pecchenini, Laurent Rossi harpsichord Riccardo Doni Massimo Mazzeo direction www.divinosospiro.org Giovanni Paisiello (1740-1816) Arias for Castrato 1 Aria »Meglio Rifletti« 4:09 Giacomo Tritto (1733–1824) (Antigono, Napoli 1785) 10 Aria »Guarda s’imbruna« 3:03 (Artenice, Napoli 1784) 2 Aria »So che pietà non hai« 4:05 (Catone in Utica, Napoli 1789) 11 Aria »La tua fe’« 6:28 (Cantata Il ritorno di Perseo, Napoli 1785) Felice Alessandri (1747–1798) 3 Aria »Deh respirar« 5:41 12 Recitativo »Eh che in amore« 0:20 (Artaserse, Napoli 1783) (Demetrio, Modena 1771) 4 Recitativo »Deh non opporti ...« 0:27 13 Aria »Trova un sol che sia costante« 4:37 (Antigono, Napoli 1785) (Demetrio, Modena 1771) 5 Aria »Già che morir degg’io« 3:07 14 Aria »Di quell’ingiusto sdegno« 5:07 (Antigono, Napoli 1785) (Demetrio, Modena 1771) 6 Aria »Destrier che all’armi usato« 8:30 15 Aria »Per me de’ mortali« 5:02 (Alessandro, Modena 1774) (Cantata per San Gennaro, Napoli 1785) 7 Aria »Fiumicello che riceve« 3:26 Domenico Cimarosa (1750–1803) (La Pace, Napoli c1799) 16 Recitativo »Oreste, Elettra oh Dio!« 0:56 8 Aria »Tu del popolo« 3:02 (Oreste, Napoli 1783) (Il Gran Cid, Firenze 1775) Domenico Cimarosa 9 Ouverture 4:43 17 Aria »Ah che in petto!« 4:06 (Demetrio, Modena 1771) (Oreste, Napoli 1783) Giovanni Paisiello Rolle des Elci in Il figliol prodigo übernahm. des berühmten Kastraten Manzuoli erhielt. Seine bisher größte bekannte Leistung war Die vorliegende Einspielung enthält einige Arien für Kastraten die Zusammenarbeit mit eben jenen beiden Arien, die für ihn zwischen 1783 und 1789 berühmten neapolitanischen Komponisten. komponiert wurden, als er einer der führen- Fariselli verkörperte die Rolle des Olinto in den Sänger in Neapel war: zwei Werke von Giovanni Paisiellos Komponistenkarriere Sogar innerhalb der strikt kodierten Regeln der ersten Version von Paisiellos Demetrio, der Paisiello (Antigono aus dem Jahre 1785 und umspannt über vierzig Jahre, angefangen bei der Opera seria konnte er die Wünsche der in Modena 1771 aufgeführt wurde. Am Ende die 1789er-Version von Catone in Utica), eine seinem Operndebüt 1764 bis zu seinem letz- Sänger mit seiner künstlerischen Vorstellung des ersten Aktes (Szene 1) gesteht Olinto der Arie aus Cimarosas Oreste (aufgeführt am 13. ten Werk im Jahre 1808. Er schrieb fast hun- in Einklang bringen. Königin Cleonice seine Liebe und stimmt die August 1783 zu Ehren des Geburtstags der dert Opern, darunter Klassiker wie Nina, o sia Arie Di quell’ ingiusto sdegno an. Diese beginnt Königin), und eine Arie von Felice Alessand- la pazza per amore und Il barbiere di Siviglia. Diese Aufnahme illustriert das Verhältnis zwi- mit einem 25 Takte umfassenden, orchestra- ris Artaserse (aufgeführt im November 1783 schen Paisiello und manchen seiner Kastra- len Vorspiel und stellt seine Ängste mit ausge- zu den Namenstagen von Karl III., der Kö- Sein Œuvre spiegelt den Übergang zwischen tensänger, mit denen er zusammenarbeitete. dehnten Melisma über dem Wort ‚parlantoti’ nigin und dem Prinzen von Asturien), sowie dem Ende der Aufklärung und der frühen Ro- Darunter waren Berühmtheiten wie Giovanni (ich spreche zu dir) dar. eine Arie aus Trittos Artenice (am 13. August mantik wider. Im Laufe seiner Karriere kam Rubinelli, Giuseppe Aprile und Angiolo Mo- 1784 wiederum für den Geburtstag der Kö- die Opera seria außer Mode und damit auch nanni (auch bekannt als Manzoletto), die in Dieselbe Furcht wird musikalisch auch noch nigin aufgeführt). ihre Hauptfiguren, die Kastraten. Kastraten ganz Europa auftraten. Manche unter ihnen, in einer anderen Arie zu Beginn des zweiten blieben bei konservativeren Kreisen zwar z.B. Francesco Fariselli, waren weniger be- Akts illustriert, deren Text nicht in Metastasios Paisiello und Cimarosa waren zu Lebzeiten in weiterhin beliebt, aber die aufklärerischen kannt, hatten aber dennoch bemerkenswerte Originallibretto enthalten ist. Die Arie Trova ganz Europa bekannt und ihr Ruhm blieb bis Bedenken hinsichtlich der Kastrationspraxis Karrieren. un sol che sia costante kombiniert eine zerrisse- heute bestehen. Tritto und Alessandri hinge- nahmen überhand. ne Vokalmelodie mit einer stabilen Bassfigu- gen wurden nahezu vergessen, obwohl Trittos Es ist nicht einfach, den Werdegang jener ration: Olinto spricht zur Königin, die untreu Il convitato die Pietra (nach einem Libretto Paisiello schrieb zahlreiche Kastratenrollen, Kastraten und deren Reisen durch ganz Eu- gegenüber Alceste ist. Diese Arie, die nur für von Giovanni Battista Lorenzi) jüngst wie- häufig nach Libretti von Pietro Metastasio ropa zu rekonstruieren. Francesco Fariselli ist eine bestimmte Aufführung eingefügt wurde, deraufgeführt wurde – hoffentlich ein erster oder von Autoren aus dessen Umfeld. Libretti ein typisches Beispiel: Er wurde im süditali- wurde von Paisiello für die russische Version Schritt zu seiner Wiederentdeckung. wie Demetrio, Catone in Utica, Antigono oder enischen Bagnocavallo geboren und erreich- wieder aus der Partitur gestrichen. Vermutlich Alessandro wurden von einigen neapolitani- te den Höhepunkt seiner Karriere im Jahre befürchtete er, das dortige Königshaus zu be- Seine Arie Guarda s’imbruna in cielo ist eine schen Komponisten gerne in Musik gesetzt. 1771 in Modena, wo er mit Paisiello und Tra- leidigen, das bekannt für solche Affären war. klassische Sturmarie: die Stürme (odi aquilon Paisiello hatte das Talent, jeden seiner Sänger etta zusammenarbeitete. Zwischen 1781 und si desta) und das Gewitter (già cresce la tempes- ins Rampenlicht zu setzten, egal wie bekannt 1787 stand er in Diensten der Hofkapelle in Angelo Monanni was bekannt unter dem ta) sind mit donnernden Motiven musikalisch diese waren und das obwohl das italienische Lissabon, kehrte jedoch aus unbekannten Namen „Manzoletto“ (wörtlich „kleiner Man- dargestellt. In der Einleitung beginnen die Vi- Publikum besessen von Berühmtheiten war. Gründen 1791 nach Italien zurück, wo er die zuoli“), ein Spitzamen, den er als Schüler olinen mit sotto voce, das sich zu einem for- 6 7 tissimo mit den Holzbläsern entwickelt. Die Già che morir degg’io liebt Demetrio Berenice, Paisiello komponierte auch viele Schauspiel- komposition, die am ersten Samstag im Mai Stimme singt keinen Belcanto, sondern un- die ihn zwar auch liebt, aber seinem Vater musiken zu weltlichen und geistlichen Anläs- unter freiem Himmel stattfinden sollte, um terstützt vielmehr die Darstellung des Sturms. Antigono versprochen ist. Das Stück erklingt sen, sowohl private als auch öffentliche. Der an das Blutwunder des Heiligen Januarius zu in g-Moll mit einigen Ausweichungen nach Sänger Giuseppe begrüßte u.a. die königliche erinnern. Paisiello verfasste eine Kantate für Alessandris Arie Deh rispirar lasciatemi aus gis-Moll, der Mittelteil steht in der Parallel- Familie nach einer Auslandsreise 1785 mit das Jahr 1787, Festeggiandosi la traslazione Artaserse ist intimer und verdeutlicht Artaser- tonart B-Dur. In diesem Teil kontrastiert eine Paisiellos Kantate Il ritorno di Perseo in der del sangue del glorioso martire S. Gennaro da ses Pein und Zweifel. Das Word „deh“ wird pathetische Melodie mit den Triolen der Vio- Accademia di musica denominata degli amici nobile sedile di Nido nel dì 5. Maggio 1787, ständig wiederholt und die Verwendung von linen. Hierbei entschloss sich Paisiello für eine in Neapel. Die Arie La tua fé wurde dem vir- nach einem Text von Antonio Pignatelli, Pausen vor „respirar“ schafft eine verzweifelte nüchterne Textur, um die komplexe Szene tuosen Sänger auf den Leib geschneidert, was Marquis von Galantone. Diese religiösen An- Atmosphäre. Seine Persönlichkeit ist gespal- darzustellen. die Melismen auf dem Wort „felicità“ (Glück- lässe beanspruchten häufig bemerkenswerte ten, er ist Freund, Richter, Liebhaber, Dieb seligkeit) belegen. künstlerische und ökonomische Ressourcen, und König zugleich. Die lange, virtuose Arie Destrier che all’armi darunter die besten Sänger. Unter den Auf- usato wurde ebenfalls für Rubinelli geschrie- Neben der königlichen Familie war der Heili- führenden finden sich Namen wie Grimaldi, Cimarosas Ah che in petto ist ein typisches ben und verlangt ein Fagott. Sie wurde für ge Januarius ein beliebtes Thema, war er doch Sassano, Broschi, Caffarelli, Gizi, Milico – die Beispiel einer Sturm-und-Drang-Arie, ähnlich die 1774er Version von Alessandro nelle Indie der Schutzpatron des Königreichs Neapel. Je- berühmtesten Sänger nahmen an diesen Fei- einiger Mozart-Werke, wie das Klavierkonzert verfasst und in Modena uraufgeführt. Paisiello des Jahr beauftragte die Stadt eine Kantaten- erlichkeiten teil. KV 466 aus dem Jahre 1785. Die qualvollen beschreibt das Aufbäumen eines Pferdes, das Streicherfiguren verdeutlichen Pilades Ver- über einen Zaun springt. Die schnellen Spiel- Paologiovanni Maione such, seinem Freund Orestes zu helfen, der in figuren in den Violinen, die vokalen Melis- Todesgefahr schwebt. men und die Soloinstrumente schaffen eine Während der Saison 1784-85 verdrängte wilde Atmosphäre. Giovanni Rubinelli Manzoletto als Neapels führender Sänger. Rubinelli war einer der Die Arie
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