Composer: Luigi Rossi
Orchestra: Allabastrina Consort
Conductor: Elena Sartori
Format: FLAC (tracks)
Label: Glossa
Release: 2021
Size: 4.62 GB
Recovery: +3%
Scan: yes
Francesca Lombardi Mazzulli, soprano
Emanuela Galli, soprano
Paola Valentina Molinari, soprano
Mauro Borgioni, bass
Alessio Tosi, tenor
Arianna Stornello, soprano
Sara Bino, soprano
01. Sinfonia
02. Prologue: All’assalto! All’armi!
03. Prologue: Eccomi! E quando mai
04. Prologue: Quant’erbe e fiori
05. Act I: Ouverture
06. Act I: Sinfonia
07. Act I Scene 1: Euridice ecco il luogo
08. Act I Scene 1: Da questo Polo ai Regni oscuri
09. Act I Scene 1: Hor mi permetti Giuno
10. Act I Scene 1: Ohimè! Dall’Occidente
11. Act I Scene 1: Al fulgor di due bei rai
12. Act I Scene 2: E che mi date in dono
13. Act I Scene 2: Udite Amanti
14. Act I Scene 3: O tormento mortal
15. Act I Scene 3: Non pianga e non sospiri
16. Act I Scene 3: Mi piaccion più quegli altri
17. Act I Scene 3: Questa canzon è fatta
18. Act I Scene 4: D’Amor e Venere
19. Act I Scene 4: Quello splendore
20. Act I Scene 4: E che piangi Aristeo?
21. Act I Scene 4: Chi si muor
22. Act I Scene 4: Il dir questo a che vale?
23. Act I Scene 4: Che fai meco
24. Act I Scene 4: No che per te rimane
25. Act I Scene 4: Vaga Dea la cui Beltà
26. Act I Scene 4: E tu nulla farai fanciullo ardito?
27. Act I Scene 5: Del più lucente
28. Act I Scene 5: Senza Momo le nozze?
29. Act I Scene 5: Di bevanda pretiosa
30. Act I Scene 5: Come tal liquore è nato
31. Act I Scene 5: A ché tanto spavento?
32. Act I Scene 5: Deh pietà!
33. Act II Scene 1: Hor chi lo crederia
34. Act II Scene 2: Ohimè Nutrice
35. Act II Scene 2: Mio ben teco il tormento
36. Act II Scene 2: Dunque voi vi credete
37. Act II Scene 2: Via su dunque!
38. Act II Scene 2: Fugace e labile
39. Act II Scene 2: Nutrice andiamo
40. Act II Scene 3: Ma non posso più attendervi
41. Act II Scene 4: Amor senti
42. Act II Scene 4: Sì ch’è vero
43. Act II Scene 5: Quanto tardano le Gratie
44. Act II Scene 6: Ne sai far più?
45. Act II Scene 6: Amanti amanti se bramate
46. Act II Scene 7: In quel seno almo e divino
47. Act II Scene 8: E dove Endimione?
48. Act II Scene 9: Che può far Citherea
49. Act II Scene 9: A l’imperio d’Amore
50. Act II Scene 9: Ahi ahi!
51. Act II Scene 9: Deh! Mira dunque se viene
52. Act II Scene 9: O del Ciel leggi severe
53. Act II Scene 9: Les pleurs d’Orphèe ayant perdu sa femme
54. Act III Scene 1: Lagrime dove sete?
55. Act III Scene 1: Dite ohimè dove ne gite
56. Act III Scene 1: Quanto più stame pregiato
57. Act III Scene 1: Ah che vi chiuda quelle labbra
58. Act III Scene 1: O gran forza
59. Act III Scene 2: Non è sola nel mondo
60. Act III Scene 2: O Ciel pietà!
61. Act III Scene 3: Uccidetemi uccidetemi o pene!
62. Act III Scene 4: Và pur và malinconia
63. Act III Scene 4: All’armi mio core
64. Act III Scene 5: Ascolta Gelosia senti Sospetto!
65. Act III Scene 6: Ecco Citherea molto fastosa!
66. Act III Scene 6: Dunque su l’ingiustissime ruine
67. Act III Scene 7: Ché tanto dubitavi
68. Act III Scene 7: Non vi fidate!
69. Act III Scene 8: E quante volte
70. Act III Scene 9: Eccolo! E perché viene
71. Act III Scene 9: O dolcissimi accenti!
72. Act III Scene 9: Ah mio Nume
73. Act III Scene 9: Venga dunque Euridice
74. Act III Scene 9: Vi renda Amor mercé di tal ristoro
75. Act III Scene 9: Sì mio ben ch’in quest’horrore
76. Act III Scene 9: Anzi ché vien mia fé
77. Act III Scene 9: Forz’è ben ch’infinita
78. Act III Scene 9: Les passepieds d’Artus
79. Act III Scene 9: Sarabande
80. Act III Scene 9: Bourée
81. Act III Scene 9: Bourée figurée “La Christiana”
82. Act III Scene 9: Le leggi quel meschin non osservò
83. Act III Scene 10: Viva Bacco nostro re!
84. Act III Scene 10: Ma rimirate Venere
85. Act III Scene 10: E così in danze e feste
86. Act III Scene 11: Lasciate Averno o pene e me seguite!
87. Act III Scene 11: Amor vero e salda fé
88. Act III Scene 11: D’Orfeo la Cetra
89. Epilogue: Ma che queste menzogne
Today’s music lovers associate L’Orfeo first and foremost with Claudio Monteverdi’s famous opera from 1607, while the version by Luigi Rossi, premiered four decades later, has remained less well-known. Rossi had served as a musician first for the noble families Borghese and Barberini in Florence and Rome, respectively, before he moved to France in 1646, where he became the most respected composer at the court of Cardinal Mazarin. His L’Orfeo, with a libretto by Francesco Buti, was premiered on 2 March 1647 at the Théâtre du Palais-Royal in Paris. It was one of the first operas ever performed in France. The premiere was magnificently staged, full of great sets and machinery, with over 200 people employed to work on the scenery. The performance lasted about six hours and was a great success for Rossi.
Thirty years after the first recording by Les Arts Florissants and William Christie, Elena Sartori and her ensemble Allabastrina present now the second recording of this opera. The total playing time is slightly under four hours, almost Wagnerian proportions. Sartori uses exclusively Italian forces (17 solo singers and choristers), with the Baroque experts Francesca Lombardi Mazzulli (Orfeo) and Emanuela Galli (Euridice) in the main roles.
“After the recordings under William Christie and Raphaël Pichon, Glossa now presents this new recording of Rossi’s opera L’Orfeo under Elena Sartori. Cardinal Mazarin had commissioned it in 1647 from Rossi in order to introduce the French royal court to the genre of Italian opera. Rossi’s adaptation of the Orfeo material is initially about Orfeo, Euridice and Aristeos, who seeks to prevent the union of the two lovers. Since the young woman and her lover stick together despite all attempts by Aristeos to destroy their love, the rival has her killed by a snake bite. In the third act, he is driven to madness and suicide. Afterwards, Orfeo is supposed to bring Euridice out of the underworld and fails, as is common knowledge. Rossi has endowed his opera with a lush plot in which gods, graces and parcae play an important role. Elena Sartori exerts a tense grip on the music and gives it immediate impact thanks to a good and committed ensemble of soloists. The singing – both solo and ensemble – is excellent throughout, with very characterful interpretations that help the listener follow the action without constantly looking at the libretto. And so this is a very good performance (and recording) of a work that really deserves to be better known.”