Composer: Jean-Baptiste Lully
Performer: La Risonanza, Emanuela Galli, Yetzabel Arias Fernández, Stefanie True, Fabio Bonizzoni
Conductor: Fabio Bonizzoni
Format: FLAC (tracks)
Label: Glossa
Catalogue: GCD921509
Release: 2009
Size: 350 MB
Recovery: +3%
Scan: yes
01. La raillerie
Psyché
02. Act I: Deh, piangete al pianto mio
Alcidiane
03. Ritournelle et air de Mademoiselle Hilaire
Le Bourgeois Gentilhomme
04. Quatrieme entree – Air: Di rigori armata il seno
05. Entree des Scaramouches – Chaconne
06. Duo: Bel tempo che vola – Rejouissance
07. Chaconne
Amour malade
08. Ritournelle – Air: Que les jaloux sont importuns – Ritournelle
09. Air: E che sarebbe amor senza cochette?
Alcidiane
10. Ouverture – Ritournelle – Air: Amiam dunque, infin ch’e lecito
Flore
11. Plainte de Venus: Ah, quelle cruaute
Alcidiane
12. Petite chaconne – Duo: Cede al vostro valore
Les amours deguises
13. Plainte d’Armide: Ah, Rinaldo, e dove sei?
Nowadays, little introduction on record is needed for the dramatic output of Jean-Baptiste Lully: his style has become unquestionably associated with French music of the 17th century. But long before he became the all-conquering composer of tragedies en musique at the court of Le Roi Soleil, Louis XIV, Giovanni Battista Lulli had been a young Florentine employed as a page for the Duchess of Montpensier and detailed to provide her with conversational classes in Italian. In those early years in Paris, Lully also learnt his craft as a composer, encouraged by the efforts of France’s First Minister, Cardinal Mazarin, also Italian-born, to encourage the spread of music from his native country to the French court: Francesco Cavalli was another composer attracted to Paris to demonstrate the mastery of Italians in opera. Lully’s own initial compositions focused on music for ballets de cour and for these instrumental entrées were combined with vocal sections in Italian and his early treatment of recitative. Breaking off briefly from their ongoing grand survey of Handel’s Italian Cantatas for Glossa, Fabio Bonizzoni and La Risonanza draw us into the Italianate world of Paris of the 1650s and 1660s before leaving us at the gates of Lully’s collaboration with Molière in Le bourgeois gentilhomme and his own entrance into the tragédie en musique.