Composer: André Campra
Performer: La Risonanza, Roberta Invernizzi, Cyril Auvity, Salvo Vitale, Fabio Bonizzoni
Conductor: Fabio Bonizzoni
Format: FLAC (tracks)
Label: Glossa
Catalogue: GCD921512
Release: 2011
Size: 314 MB
Recovery: +3%
Scan: yes
Gli strali d’Amore. Divertimento immaginario
01. I. Lentement – Allegro
02. Recitative: Ah, he d’amor gioia (Lelio)
03. Recitative: D’un geloso core – D’amorosi mirti (Lelio, Il dottore)
04. Aria: Amanti godete (Lelio)
05. Recitative: Alle vaghe lusinghe (Leonora)
06. Aria: All’incanto d’un bel riso (Leonora)
07. Recitative: Adorata Leonora (Lelio)
08. II. Allegro
09. Recitative: Come, come dar fede (Leonora)
10. Aria: La farfalla intorno ai fiori (Leonora)
11. Recitative: Idolo mio, t’arresta (Lelio)
12. Aria: Pargoletti faretrati (Leonora)
13. Recitative: Idolo mio, gia l’alma (Lelio)
14. Recitative: Vezzosette care pupillete (Lelio, Il dottore)
15. Recitative: Non risponde, Amore (Leonora)
16. Aria: Vuo’ vendetta (Leonora)
17. Recitative: Ma, Leonora, che pensi? (Leonora)
18. Aria: Lungi da me martiri (Leonora)
19. Recitative: Ma ecco, che la quiete (Leonora)
20. Recitative: Luci belle (Il dottore, Lelio)
21. Recitative: Ecco che gia il riposo (Leonora)
22. Aria: Amor diletto (Leonora)
23. Recitative: La mia amata Leonora (Il dottore)
24. Recitative: Bell’idolo d’amore (Il dottore, Leonora)
25. Recitative: Molesto mi e il Dottore (Leonora)
26. Aria: Amor te’l giuro affe (Leonora)
27. Chaconne in D major
28. Recitative: L’unico be (Leonora)
29. Aria: Non si puo’ veder (Leonora)
30. Aria: Si scherzi si rida (Leonora)
31. Recitative: Se, l’amata Leonora (Lelio)
32. Aria: Ch’io viva senza te (Leonora)
33. Contre-danse
34. Aria: Tutii lieti festeggiate (Leonora, Il dottore, Lelio)
The “divertimento immaginario” offered here is just that: a group of Italian arias by André Campra, from around the turn of the 17th to the 18th century, assembled into a lighthearted tale of a little love triangle by the Italian historical-performance group La Risonanza and its leader-keyboardist, Fabio Bonizzoni. The names are redone, recitatives are added with text by Angela Romagnoli and idiomatic music by Bonizzoni himself, and the whole is interspersed with sonatas by Louis-Nicolas Clérambault. Annotator Barbara Nestola claims that Campra would have approved, and there is no reason to doubt her; appreciation of Italian opera in France did not begin with François Couperin but existed on the margins of official French style for several decades prior to that. Campra’s arias were incorporated into French tragédies lyriques, circulated singly among enthusiasts, and generally written to fill a need even if the purity of the French style was officially maintained. So while there isn’t direct evidence of pastiches like this, the idea would probably not have been without sense at the time. The program as a whole represents a sort of fusion of Italian and French style. It may be of most interest to avid followers of Baroque opera; the story of the divertimento as such does not hold together with much specificity. But the singing of soprano Roberta Invernizzi is as freely gorgeous as ever, and there are a few lovely arias. Sample the hypnotic sleep duet, track 20, to hear the nearly as-good male singers. The small string group and the theorbo-and-harpsichord continuo of La Risonanza creates a relaxed sound that passes for the 17th-century equivalent of a mellow romantic mood. Recommended, especially for fans of the divine Invernizzi.