Arias for Domenico Gizzi Roberta Invernizzi & Laboratorio '600

• Francesco Feo (1691-1761)
• 1 Andromaca: Prima 'l vorace fulmine 04:33
• Johann Adolf Hasse (1699-1793)
• 2 Didone abbandonata: Amor che nasce 04:19
• Alessandro Scarlatti (1660-1725)
• 3 Crude parche 04:23
• 4 Sinfonia 02:27
• 5 O a morire o a goder 01:57
• Giovanni Battista Costanzi (1704-1778)
• 6 L'Eupatra: Per due pupille belle 04:15
• Giovanni Bononcini (1670-1747)
• 7 Amore inganna 02:55
• 8 Barbari siete, o Dei 04:54
• Domenico Natale Sarro (1679-1744)
• 9 Sinfonia 02:55
• 10 Povero amor tradito 04:17
• Nicola Porpora (1686-1768)
• 11 Adelaide: Volo il mio sangue a spargere 03:48
• Domenico Natale Sarro (1679-1744)
• 12 Il Valdemaro: La brama di regno 03:49
• 13 Ginevra principessa di Scozia: Cieca nave, infidi sguardi 03:01
• Francesco Feo (1691-1761)
• 14 Andromaca: No, non mi bastera bocca vezzosa 04:20
• Johann Adolf Hasse (1699-1793)
• 15 Didone abbandonata: Su la pendice alpina 04:48
• Total Runtime 56:41

Info for Arias for Domenico Gizzi

Diese neue Glossa-Aufnahme mit Antonio Florio stellt mit Domenico Gizzi abermals einen berühmten italienischen Sänger des Barock in den Mittelpunkt. Roberta Invernizzi, eine herausragende italienische Sängerin unserer Tage, weiß diese Musik wie keine zweite zu interpretieren. Die hier eingespielten virtuosen Arien haben das Publikum fasziniert, seitdem sie ab 1718 in den neu eröffneten römischen Theatern erstmals erklungen sind...

Arias for Domenico Gizzi zeichnet die spektakuläre Karriere eines Künstlers nach, dessen Fähigkeiten nicht nur in seiner Stimme lagen. Er verstand es auch, sich bei den Mäzenen des frühen 18. Jahrhunderts unentbehrlich zu machen (so etwa Königin Christina von Schweden, James Stuart oder verschiedene römische Kardinäle), sodass er häufig für Opern engagiert wurde, die politischen Zwecken dienten. Roberta Invernizzi hat Arien aus Gizzis erfolgreichsten Jahren ausgewählt, die aus Werken von Alessandro Scarlatti, Leonardo Vinci, Domenico Sarro, Francesco Feo, Giovanni Battista Costanzi, Giovanni Bononcini und Nicola Porpora stammen und oft von männlichen Heldenfiguren gesungen werden.

Antonio Florio steht an der Spitze der wie immer mitreißenden Turchini, und Giulia Veneziano ermöglicht in ihrem Booklettext Einblicke in bisher nur wenig bekannte Aspekte der Geschichte des Gesangs.

Roberta Invernizzi, Sopran
I Turchini
Antonio Florio, Dirigent

Recorded in Naples on 5-8 February 2014
Engineered and produced by Rino Trasi

Roberta Invernizzi
has become one of the outstanding voices of Baroque music in modern times, contributing with her crystalline soprano and an unfailing dramatic sense to the rediscovery of much neglected music, from Italy in particular. Hailing from Milan, Roberta Invernizzi’s music studies initially encompassed the piano and the double bass before she took up singing under the guidance of Margaret Heyward, later specializing in both Baroque and Classical era music.

Invernizzi’s talent for characterization has been superbly demonstrated across the Gramophone Award-winning series of recordings on Glossa of Handel’s chamber cantatas in Italian with Fabio Bonizzoni, through her visceral and vivid portrayals of Arcadian characters from goddesses and nymphs to shepherdesses. Her prowess there led Fabio Bonizzoni to write recitatives with her in mind for his creation of a pasticcio opera in Gli strali d’Amore, with arias by André Campra. The flamboyant revival in recent years of music from the Neapolitan Baroque led by Antonio Florio and I Turchini owes much to Roberta Invernizzi’s contributions, whilst on the opera stage diverse roles in recent years have seen her perform in Handel’s Rinaldo and Agrippina, Vivaldi’s Ercole sul Termodonte and Monteverdi’s L’Orfeo and L’incoronazione di Poppea (as well as in Mozart, Grétry and Berton). Reactions from the international press have praised her singing for its “intensity and delicacy, her control of pitch and phrase production”, her “great radiance of tone” as well as frequent notes of approval for her sensitivity, refinement and subtlety.

In addition to her presence in the Handel Cantatas series (there is also a “Portrait” release, Handel in Italy) and the Campra Gli strali d’Amore, Invernizzi’s long-standing musical partnership with Fabio Bonizzoni and La Risonanza has led to a disc of both well- and lesser-known opera arias by Antonio Vivaldi with Invernizzi cast very much in the solo spotlight. Invernizzi regularly works also with other leading conductors of the music of Vivaldi such as Rinaldo Alessandrini, Alan Curtis and Fabio Biondi, among others.

Booklet for Arias for Domenico Gizzi