Arianna in Rome. Arias, Cantatas and Laments for the Seventeenth-Century Virtuose Carlotta Colombo, Anima & Corpo and Gabriele Pro

• Giovanni Girolamo Kapsberger (1580 - 1651): Sinfonia I:
• 1 Kapsberger: Sinfonia I 05:50
• Luigi Rossi (1597 - 1653): Giunsi pur, mai non fu più tardo:
• 2 Rossi: Giunsi pur, mai non fu più tardo 05:16
• Stefano Landi (1587 - 1639): Lamento d’Armida:
• 3 Landi: Lamento d’Armida: Quando Rinaldo invitto 04:39
• Carlo Rainaldi (1611 - 1691): Ch’io sciolga il nodo:
• 4 Rainaldi: Ch’io sciolga il nodo 04:32
• Ottavio Catalani (1560 - 1629): Gerusalemme liberata, Canto XIX:
• 5 Catalani: Gerusalemme liberata, Canto XIX: Lamento d’Erminia. In che misero punto or qui mi mena fortuna 05:19
• Girolamo Frescobaldi (1583 - 1643): Canzon Quinta:
• 6 Frescobaldi: Canzon Quinta 04:06
• Giacomo Carissimi (1605 - 1674): Soccorretemi ch’io moro:
• 7 Carissimi: Soccorretemi ch’io moro 06:32
• Paolo Quagliati (1555 - 1628): Toccata:
• 8 Quagliati: Toccata 02:49
• Felice chi vi mira:
• 9 Quagliati: Felice chi vi mira 03:22
• Claudio Monteverdi (1567 - 1643): Lamento d'Arianna, SV 22:
• 10 Monteverdi: Lamento d'Arianna, SV 22 10:23
• Giovanni Girolamo Kapsberger: Toccata VII:
• 11 Kapsberger: Toccata VII 04:27
• Stefano Landi: Alla guerra d’amor:
• 12 Landi: Alla guerra d’amor 03:29
• Total Runtime 01:00:44

Info for Arianna in Rome. Arias, Cantatas and Laments for the Seventeenth-Century Virtuose

Alongside the renowned female composers of the 17th century, such as Francesca Caccini and Barbara Strozzi, and the leading singers (the prime donne) that dominated the stages of opera houses, such as Anna Renzi and Giulia Masotti, we should also appreciate the considerable number of excellent – yet largely unknown – “virtuose”. Though customarily concealed amidst the ranks of a court, serving as maids of honour to a queen, princess or noblewoman, these were extremely accomplished musicians who often provided vital inspiration for the celebrated composers of the day. This recording, which stemmed from a research project dedicated to the virtuose working in 17th-century Rome, presents a selection of compositions that may well have formed part of their repertoire. The famous Lamento d’Arianna stands out among these pieces, in a version that was preserved in a contemporary Roman manuscript that Monteverdi very likely brought with him during his visit to the papal city in the autumn of 1610. In this album, which marks her solo debut, Carlotta Colombo, one of the most highly esteemed singers in today's Italian Baroque scene, pays tribute to the creativity of these extraordinary women, thereby reinstating them to the centre of their artistic environment and restoring to them the recognition that was often denied to them during their lifetime.

Carlotta Colombo, soprano
Anima & Corpo
Gabriele Pro, violin & direction

Carlotta Colombo
The Italian soprano Carlotta Colombo began her singing studies at the age of 16. After graduating from the conservatory in Como she achieved a diploma in both opera and Renaissance and Baroque singing with Alessandra Ruffini and Roberto Balconi. At the same time, she completed a degree in philosophy at the University of Milan.

As a concert singer, Carlotta Colombo has appeared in the I Pomeriggi Musicali concert series in Milan and at various festivals, among them the Bologna Festival, the Festival dei Due Mondi in Spoleto, MITO SettembreMusica, Roma Festival Barocco, Urbino Musica Antica, the Stresa Festival, the Reate Festival in Rieti, the Styriarte in Graz, Resonanzen in Vienna, the Trigonale in Klagenfurt, the Tyrol Easter Festival, the Schwetzingen Festival, the Klangvokal Music Festival in Dortmund, the Bad Arolsen Baroque Festival, Printemps des Arts in Monte Carlo, the Brighton Early Music Festival, Musica Sacra in Maastricht, the Festtage Alter Musik Basel, Sastamala Gregoriana in Finland and the Festival Internacional Cervantino in Guanajuato (Mexico). Opera houses and concert halls at which she has performed both as a soloist and in ensembles include La Scala and the Teatro Dal Verme in Milan, the Teatro Sociale in Como, the Teatro Comunale in Ferrara, the Teatro alla Pergola in Florence, the Pierre Boulez Hall in Berlin, the Theater an der Wien, the Vienna Konzerthaus, the Théâtre des Champs-Élysées in Paris, the Philharmonie Luxembourg, the Philharmonie Essen, the Teatro Juárez in Guanajuato and the Croatian National Theatre in Zagreb.

Carlotta Colombo has worked with leading Italian ensembles including Ensemble Zefiro, Concerto Romano, Il Pomo d’Oro, La fonte musica, La Venexiana, laBarocca, Il Canto di Orfeo and La Divina Armonia, and with the Boston Early Music Festival Chamber Ensemble. She has sung under the direction of Baroque specialists such as Dmitry Sinkovsky, Alfredo Bernardini, Gianluca Capuano, Ruben Jais, Alessandro Quarta, Michele Pasotti and Paul O’Dette. In 2022 she was a finalist at the International Cesti Singing Competition in Innsbruck.

She has appeared on recordings for the labels Glossa, Arcana, cpo, Dynamic, Concerto Classics, Brilliant Classics, Da Vinci Classics and Tactus.

Gabriele Pro
Named as "one of the most exciting young names in the early music scene" (One to watch) by Gramophone magazine, Gabriele Pro is establishing himself on the international scene as a protagonist of the new generation of baroque violinists. He obtained his master's degree in baroque violin with honors and honorable mention under the guidance of Enrico Onofri. He also holds a degree in musicology from the University of Rome "La Sapienza". His concert activity has led him to perform as a soloist or in a leading role in the main festivals and concert seasons in Europe, Asia and the United States: MA festival Brugge, MITO settembre musica, Resonanzen Wien, Tage Alter Musik - Herne, Muziekcentrum De Bijloke - Ghent, Filarmonica Romana, Pomeriggi Musicali, Festival Monteverdi, Società dei concerti "B. Barattelli". He has played with numerous orchestras and chamber groups, including: Le Concert des Nations, Accademia Bizantina, Il Giardino Armonico, Academia Montis Regalis, Ensemble Zefiro, Enea Barock Orchestra, Venice Baroque Orchestra, Concerto Romano, La Fonte Musica. He has collaborated and been directed by internationally renowned musicians such as: Jordi Savall, Enrico Onofri, Ottavio Dantone, Giovanni Antonini, Alfredo Bernardini, Antonio Florio, Alessandro Quarta, Fabio Biondi, Dmitry Sinkovsky, Ann Hallenberg performing in important concert halls such as: Carnegie Hall, Berliner Philharmonie, Philarmonie de Parigi, Het Concertgebouw, Wiener Konzerthaus, Elbphilharmonie, Teatro Massimo di Palermo, Theater an der Wien, Pierre Boulez Saal, Teatro Carlo Felice, Teatro Dal Verme. He has recorded for Sony, Glossa, Passacaille, Alia Vox, Arcana, Cristophorus, Tactus, Dynamic, Brilliant and for Rai, Orf, Wdr, BR-Klassik, Ntr. He is the founder and musical director of the Ensemble Anima&Corpo with which he has released an album dedicated to unpublished sonatas by Giovanni Mossi and Antonio Montanari for the Arcana label - Outhere Music.

Booklet for Arianna in Rome. Arias, Cantatas and Laments for the Seventeenth-Century Virtuose