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Download Booklet La Venexiana Claudio Cavina, director Fortune: Pamela Lucciarini Virtue : Francesca Cassinari Cupid , god of Love: Alena Dantcheva Othon , Roman general and Poppea’s former lover: Josè Maria Lo Monaco Two Praetorian Soldiers : Mario Cecchetti, Giovanni Caccamo Poppea , a noblewoman and Nero’s mistress: Emanuela Galli Nero , the emperor: Roberta Mameli Arnalta , Poppea’s old nurse: Ian Honeyman Octavia , the ruling empress: Xenia Meijer Nurse to Octavia: Makoto Sakurada Seneca , the philosopher and Nero’s tutor: Raffaele Costantini Drusilla , Poppea’s lady-in-waiting: Francesca Cassinari Page to Octavia: Alena Dantcheva Mercury , messenger of the gods: Andrea Favari Liberto , captain of the Praetorian guard: Giovanni Caccamo Lady-in-waiting to Octavia: Pamela Lucciarini Lucan , poet and boon companion of Nero: Mario Cecchetti Lictor : Andrea Favari Venus / Pallas : Romina Tomasoni Chorus of Seneca’s friends : Claudio Cavina, Mario Cecchetti, Andrea Favari Recorded in the Church of San Carlo, Modena (Italy), in September 2009 Consuls and Tribunes : Giovanni Caccamo, Andrea Favari Engineered by Andrea Chenna Produced by Stefano Aresi Executive producer: Carlos Céster Chorus of Love-gods : Francesca Cassinari, Pamela Lucciarini, Xenia Meijer, Claudio Cavina Editorial director: Carlos Céster Editorial assistance: María Díaz Design: Valentín Iglesias Svetlana Fomina, violin Efix Puleo, violin Luca Moretti, viola Takashi Kaketa, bass violin Alberto Lo Gatto, violone Our thanks to the Fondazione San Carlo and the Grandezze e Meraviglie Festival for their kind collaboration Fulvio Garlaschi, theorbo / baroque guitar Michael Leopold, theorbo Maurizio Martelli, theorbo Gabriele Palomba, theorbo / archlute Marta Graziolino, harp π & © 2010 MusiContact GmbH Takashi Watanabe, harpsichord Davide Pozzi, harpsichord / organ Il Nerone cd 2 64:08 01 Scena 11 . Ottone, Poppea, Arnalta: Ad altri tocca in sorte 8:22 ossia 02 Scene 12 & 13 . Ottone, Drusilla: Otton, torna in te stesso! 7:36 L’incoronazione di Poppea Atto ii Naples manuscript version 03 Scene 1 & 2 . Seneca, Mercurio, Liberto: Solitudine amata 8:53 04 Scena 3 . Seneca, Famigliari: Amici, è giunta l’ora 5:35 Music attributed to Claudio Monteverdi (156 7- 1643), Francesco Cavalli (160 2- 1676), 05 Scena 5 . Valletto, Damigella: Sento un certo non so che 5:40 Benedetto Ferrari (c .160 3- 1681), Francesco Sacrati (160 5- 1650), and anon. 06 Scena 6 . Nerone, Lucano: Or che Seneca è morto 7:53 07 Scena 8 . Ottone: I miei subiti sdegni 4:25 08 Scena 9 . Ottavia, Ottone: Tu che dagl’avi miei 5:53 cd 1 73:29 09 Scena 10 . Drusilla, Valletto, Nutrice: Felice cor mio, festeggiami in seno! 4:58 10 Scena 11 . Ottone, Drusilla: Io non so dov’io vada 4:52 01 Sinfonia 1:35 cd 3 67:03 Prologo 01 Scena 12 . Poppea, Arnalta: Or che Seneca è morto 9:57 02 Fortuna, Virtù, Amore: Deh, nasconditi, oh Virtù 6:30 02 Scena 13 . Amore: Dorme, l’incauta dorme 2:18 03 Scene 14 & 15 . Ottone, Amore, Poppea, Arnalta: Eccomi trasformato 4:14 Atto i Atto iii 03 Scena 1 . Fortuna: E pur io torno qui, qual linea al centro 6:31 04 Scena 2 . Ottone, due Soldati: Chi parla? 4:53 04 Scena 1 . Drusilla: Oh felice Drusilla 1:50 05 Scena 3 . Poppea, Nerone: Signor, deh, non partire! 9:56 05 Scene 2 & 3 . Arnalta, Littore, Drusilla, Nerone: Ecco la scellerata 5:30 06 Scena 4 . Poppea, Arnalta: Speranza, tu mi vai 8:13 06 Scena 4 . Ottone, Nerone, Drusilla, Littore: No, no, questa sentenza 5:04 07 Scena 5 . Ottavia, Nutrice: Disprezzata regina 10:11 07 Scena 5 . Poppea, Nerone: Signor, oggi rinasco 5:56 08 Scena 6 . Seneca, Ottavia, Valletto: Ecco la sconsolata 8:33 08 Scena 6 . Arnalta: Oggi sarà Poppea 4:59 09 Scene 7 & 8 . Seneca, Pallade: Le porpore regali imperatrici 3:11 09 Scena 8 . Ottavia: Addio Roma! Addio patria! Amici addio! 3:22 10 Scena 9 . Nerone, Seneca: Son risoluto, insomma 4:31 10 Scena ultima . Nerone, Poppea, Consoli, Tribuni, Amore, Venere, Coro di Amori: Ascendi, oh mia diletta 17:00 11 Scena 10 . Poppea, Nerone: Come dolci, signor, come soavi 9:27 11 Nerone, Poppea: Pur ti miro! Pur ti godo! 6:54 4 5 Additional material included in La Venexiana’s performances cd 1 track 4 : Sinfonia (end of scene), from Francesco Cavalli’s Missa Concertata (1656), reworked by Claudio Cavina. track 6 : Ritornello (end of scene), taken from the preceding aria. track 8 : Sinfonia (beginning of scene), Stefano Aresi, based on thematic material from operas by Cavalli. track 10 : Ritornello (end of the scene), from Cavalli’s Ercole Amante (1661). cd 2 track 2 : Sinfonia (beginning of scene), from Cavalli’s Doriclea (1645). track 3 : Sinfonia (beginning of scene), composed by Cavalli for the Prologue of L’incoronazione di Poppea (Venice version). Emanuela Galli Roberta Mameli Josè Maria Lo Monaco Xenia Meijer track 9 : Sinfonia (beginning of scene), based on materials from Cavalli’s Alma Redemptoris Mater . track 10 : Sinfonia (beginning of scene), from Cavalli’s Doriclea . cd 3 track 1 : Sinfonia (beginning of scene), from Claudio Monteverdi’s Eighth Book of Madrigals (1638). track 8 : Sinfonia (beginning and end of scene), from Cavalli’s Ercole Amante . track 10 : Sinfonia (beginning of scene), from Cavalli’s Missa Concertata ; ritornello , entrance of the Consuls and Tribunes (elements missing in the Naples manuscript), completed by La Venexiana (viol part); sinfonia , entrance of Venus, from Cavalli’s Eliogabalo (1668). Ian Honeyman Raffaele Costantini Makoto Sakurada 6 7 English English the most prolific members of the Accademia degli reputation it had been denied when the only known ver - that its existence was ever more than simply archival. A Neapolitan Nerone speaks Invaghiti. This erudite society comprised ardent patriots, sion was as a libretto. Above all, the kind of errors seen in the score (the careless with a Venetian voice... many of them active in the political life of the city and The music of Nerone survives in two significantly dif - omission of lines of music that would result in literary and devotees of a kind of enduring quasi-religious myth about ferent manuscripts, one in Venice in the Biblioteca musical nonsense, too many syllables for the notes in some introduction the power and autonomy of the Venetian Republic. Besides Marciana ( Ms 9963 ) and the other in Naples in the bars, etc.) would have made performance impossible with - socio-political writings (not infrequently banned by the Biblioteca del Conservatorio di Musica di San Pietro a out numerous careful corrections of which there is no Il Nerone, ossia l’incoronazione di Poppea (Nero, or The Index Librorum Proibitorum ) and learned dissertations on Majella ( Rari 6.4.1 ). From the Venice source and various trace. By contrast, the Venetian manuscript, which Coronation of Poppea ) first saw the light in Venice in the early literature and philosophy, some members of the Academy historical documents we can tell that the opera was per - belonged to the composer Francesco Cavalli and was part - 1640s, where the first ever “public” theatre had been were happy to produce opera libretti, recognising in this formed several times, perhaps being revived in Venice ly copied by his wife Maria (Acts i and iii ) and an unknown opened only a few years previously, in 1637. By admitting particular art-form an excellent vehicle for conveying itself and certainly elsewhere. These revivals self-evident - copyist (Act ii ) to provide material for the musician’s own paying audiences to the Teatro San Cassiano the city was in through mythology the most refined concepts of Venetian ly had an influence both on the overall concept and indi - use, is full of indications of cuts, transpositions, changes fact ushering in a new era. The dramma per musica , until now ideology to an audience largely composed of their own vidual features of the score. The famous performance that and additions in the composer’s well-known hand. the preserve of the princely courts and always dependent social peers or foreign aristocrats. For the theatre man - took place in Naples in 1651, about nine years after its first These are not, however, the only differences between upon the patronage of some prince (therefore linked to a agers, however, the pulling power of a work like Nerone lay appearance in Venice’s Teatro dei SS. Giovanni e Paolo the two scores. Apart from small predictable variants there single production aimed at a hand-picked circle of specta - above all in the strength of the drama and the effectiveness during the 1642-3 season, is of fundamental importance in are more significant ones such as those between the copy - tors from the highest echelons of society) now acquired the of the music. It was therefore essential to find poets who the history of opera. Given by the Febiarmonici, a touring ists’ ways of writing down the music, the fact that substan - character of a regular business undertaking. This naturally could choose suitable subjects and make them theatrically opera company, at the instigation of the Count of Oñate, tial sections of music are present in one but not in the entailed rules, budgets, subjects, restrictions and freedoms attractive and workable, composers sufficiently gifted to viceroy of Naples, in a hall normally used for royal tennis other, that in Act iii Ottavia’s farewell to Rome and all very different from those to which the librettists, com - grasp the subject and set the verses appropriately, and, last but equipped as a theatre for the occasion, it marks the Arnalta’s song of triumph have changed places, and that posers and performers had been accustomed. but not least, performers capable of realistically-expressed beginning of the history of opera in the city. the ritornelli and sinfonie are written for three parts in the It should not be assumed, however, that Nerone ’s first emotion in the recitatives and beautiful singing in the arias.
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