p h o t o © I r e n e Roberta Invernizzi d e l a S soprano e l v a I Turchini Alessandro Ciccolini, first violin (leader) Patrizio Focardi, Paolo Cantamessa, first violins Marco Piantoni, Claudia Combs, Massimo Percivaldi , second violins Rosario Di Meglio, viola Alberto Guerrero, violoncello Giorgio Sanvito, double bass Patrizia Varone, harpsichord Antonio Florio, direction ––––– Recorded in Naples (Sala del Vasari, Chiesa di S. Anna dei Lombardi) on 5-8 February 2014 Engineered and produced by Rino Trasi | Executive producer and editorial director: Carlos Céster Texts and iconographical research: Giulia Veneziano | Design: rosacasirojo.com Translations: Mark Wiggins ( eng ), Pierre Élie Mamou ( fra ), Susanne Lowien ( deu ) Editorial assistance: María Díaz © 2015 note 1 music gmbh Ringraziamo l’Arciconfraternita di S. Anna e S. Carlo Borromeo dei Lombardi, Napoli ‘Sirene’ – Viaggi musicali di celebri cantanti 06 per due pupille belle 4:15 [Farnace – Giovanni Battista Costanzi, L’Eupatra . Rome, 1730 ] A series directed by Dinko Fabris and Antonio Florio Musicological consultant: Juan José Carreras 07 amore inganna 2:55 [Mirene – Giovanni Bononcini, L’Etearco . Rome, 1719 ] vol. i1 ––––– 08 barbari siete, o dei 4:54 [Mirene – Giovanni Bononcini, L’Etearco . Rome, 1719 ] Arias for Domenico Gizzi 09 Sinfonia (Presto staccato - Lento - Allegro) 2:55 [Domenico Sarro, Ginevra principessa di Scozia . Naples, 1720 ] A star castrato in Baroque Rome 10 povero amor tradito 4:17 [Ariodante – Domenico Sarro, Ginevra principessa di Scozia . Naples, 1720 ] 01 prima ’l vorace fulmine 4:33 11 volo il mio sangue a spargere 3:48 [Pirro – Francesco Feo, Andromaca . Rome, 1730 ] [Idelberto – Nicola Porpora, Adelaide . Rome, 1723 ] 02 amor che nasce 4:19 12 la brama di regno 3:49 [Araspe – Leonardo Vinci, Didone abbandonata . Rome, 1726 ] [Sveno – Domenico Sarro, Il Valdemaro . Rome, 1726 ] 03 crude parche 4:23 13 cieca nave, infidi sguardi 3:01 [Telemaco – Alessandro Scarlatti, Telemaco . Rome, 1718 ] [Ariodante – Domenico Sarro, Ginevra principessa di Scozia . Naples, 1720 ] 04 Sinfonia (Presto - Moderato - Vivace) 2:27 14 no, non mi basterà bocca vezzosa 4:20 [Alessandro Scarlatti, Telemaco . Rome, 1718 ] [Pirro – Francesco Feo, Andromaca . Rome, 1730 ] 05 o a morire o a goder 1:57 15 su la pendice alpina 4:48 [Telemaco – Alessandro Scarlatti, Telemaco . Rome, 1718 ] [Araspe – Leonardo Vinci, Didone abbandonata . Rome, 1726 ] 4 5 arias for domenico gizzi arias for domenico gizzi resentatives of power and of the economy, engaged in musico soprano of the Cappella Reale, the most prestigious collaborative operatic composition from Domenico Arias for Domenico Gizzi promoting a sophisticated “policy of patronage”. Apart musical institution in Naples. And it was there in Naples Scarlatti and Nicola Porpora. Immediately afterwards, from the central court gathered around the pope, other that he made his debut at the court of the viceroy, the he sung the title role in Telemaco by Alessandro Scarlatti, Giulia Veneziano courts adopted the same system of patronage which Duke of Ascalona, in the serenade Li pastori e le ninfe di one of the few musicians – alongside Arcangelo Corelli extended over the delicate chessboard of European pol - Partenope , composed by the maestro di cappella Gaetano and Bernardo Pasquini – who were admitted to the itics. The ambassadors of the European kingdoms close Veneziano. The situation changed radically with the end Arcadian Academy. This establishment, l’Accademia “I do not know any other city in Europe more agreeable, to the Holy See used to compete in terms of ostentation of Spanish administration of Naples and the arrival of dell’Arcadia, founded by Queen Christina of Sweden, more comfortable, and that I would rather want to with the cardinals and the Roman princes, in their role the first Austrian viceroy, Count Daun in 1707: some of included amongst its members other leading figures of live in, than this one, not even excepting Paris.” It of patrons of the new focal point: the opera houses. The the musicians who were loyal to Spain, including the time such as the cardinals Pietro Ottoboni (nephew was in these terms that in 1749 Charles de Brosses theatrical world adopted the fashion of castrated male Veneziano, lost their positions, in contrast to Gizzi who of Pope Alexander VII I) and Benedetto Pamphili (nephew described Rome, the “crossroads of Europe”. The “Eter- singers which in Rome was, first and foremost, a practical was retained in his duties particularly as he was supporting of Pope Innocent X), and even the Prince Francesco nal City” seemed, under the popes Innocent XII I and requirement owing to the ban imposed on female singers Francesco Mancini, now promoted as the new maestro of Maria Ruspoli. Gizzi’s arrival in Rome coincided with Benedict XI V, to be enjoying an irrepressible desire for from performing either in church or in theatre. the Cappella Reale on account of his pro-Austrian zeal. the period of the greatest vitality and brilliance of the the liberty represented by opera in musica , whose presence During the time of the Austrian administration, opera in musica : he was immediately engaged in three of in Rome had been fought against by the Roman Curia vw Naples appeared to reawaken by taking on the role of the four most important theatres in the city. for almost a century. But from 1710, authorization was the true capital of the kingdom, and slowly got itself At the theatre of the Capranica family in 1718 (whose provided to open the four theatres which were going to Domenico Gizzi, born on March 12, 1687 in Arpino, near ready for the artistic explosion which would occur fol - reopening dated from 1711), Gizzi sung in two operas, compete with each other for the public’s attention across Sora, then part of the Spanish viceroyalty of Naples, was lowing the crowning of the Bourbon King Charles VI I one of which was the mentioned Telemaco by Scarlatti, the century: the Teatri Pace, Capranica, Alibert (renamed the fifth child of Igino (originally from Ceccano) and in 1734. In 1713, Gizzi’s position at the court became composed to a libretto by Carlo Sigismondo Capece, “delle Dame” in 1726) and Argentina. The enthusiasm Agata (from Iorio). Given that the family were well-off, stable: as the first musico soprano , he came into close and dedicated to the Imperial and Catholic Ambassador for spectacular performances involving special machinery, the child’s castration would have resulted from reasons contact with Alessandro Scarlatti, now recalled to Naples to the Holy See, Johann Wenzel von Gallas, whose name decorations and costumes – which, in the previous other than that of poverty. According to a non-docu - in the capacity of maestro of the Cappella Reale (the was Italianized into “Galasso”. Count von Gallas played century, was the almost exclusive prerogative of repre - mented tradition, Domenico may have studied in the singer’s name is mentioned in connection with the com - a key role in the diplomatic relations between Imperial sentatives of foreign governments (Spain and France Neapolitan conservatory of San Onofrio in Capuana, poser in the Memorie of the Abbé Pecorone, from 1729). Vienna, the Austrian viceroyalty in Naples, and the Holy through their embassies) for propaganda purposes – beginning his career in the cappella of the Tesoro di San See, to which he was accredited. It is therefore not by overran the palaces of the nobility, the colleges of the Gennaro of the cathedral of Naples before 1706. Research vw chance that Gizzi performed the role of Mirene – on cardinals, other private residences... without forgetting recently carried out by Giancarlo Rostirolla has, however, this occasion at the Teatro della Pace – in L’Etearco by the churches and the oratories. shown that Gizzi made his debut in Rome at the age of In 1718, after having made a strong impression in Naples, Giovanni Bononcini, composer at the Imperial Court, The intense atmosphere and the artistic ferment 18 years as a cantore soprano of the Cappella Giulia in the Domenico Gizzi, now recently turned thirty, returned who had joined the ambassador’s Roman entourage. which was perceptible in Rome in the first decades of Vatican on January 27, 1705. Gizzi left Rome in as early to Rome in order to perform at the Teatro Capranica the eighteenth century was principally due to the rep - as May 1706 to take up the position of supernumerary the role of Alessandro, the main character in Berenice , a vw 6 | english english | 7 arias for domenico gizzi arias for domenico gizzi Domenico Gizzi alternated his stays in Rome with a Before the theatre’s change of name in 1723, Gizzi sung marriage of Camilla Cantelmo-Stuart with the Neapolitan Naples-Rome connection at Gizzi’s farewell on the series of successes obtained during concerts in Naples there the role of Idelberto ( Adelaide by Nicola Porpora), Prince Leonardo del Tocco di Montemiletto, which took Roman stage; he sung in two operas at the Teatro della and in other cities. In April 1719, Gizzi entered the cap - and three years later those of Araspe ( Didone abbandonata place in Rome in January 1724; one opera was staged Pace, under the auspices of the cardinals Ottoboni and pella of the Tesoro di San Gennaro, one of the most by Vinci) and Sveno ( Il Valdemaro by Sarro). These three there in honour of Great Britain ( Ginevra regina di Scozia ) Coscia. The first, L’Eupatra , set to music by Giovanni prestigious musical establishments in Naples. At the operas, as well as others where Gizzi took the main role and dedicated to James Stuart, whilst a second exalted Battista Costanzi, launched the theatre’s season: after end of that year, he sung in Sicily, Messina and Palermo. at the Alibert (for example in the title role of Farnace by Naples ( La Partenope ), being dedicated to Clementina.