CD I [70:14]

01 Ouverture

Prologue

02 Scène 1 : Hastez-vous... (L’Ordonnateur, le Chœur)
03 La descente de Minerve
04 Scène 2 : Je quitte sans regret... (Minerve)
05 Récitatif : Pour attirer les yeux... (Minerve)
06 Scène 3 : Servons le fils... (Le Chœur)
07 Air pour les Arts
08 Deuxième Air. Rondeau
09 Récitatif : Les Dieux seuls en ce jour... (L’Ordonnateur)
10 Premier Air
11 Second Air
12 Premier et second Passepied
13 Récitatif : Jeunes cœurs échapez à la fureur... (Minerve)
14 Air : Celebrez un Roy plein de gloire... (Minerve, le Chœur)
15 Récitatif : Vous qui suivez mes pas... (Minerve)
16 On reprend l’ouverture pour l’entracte

Acte premier

17 Scène 1 : J’ay fait l’aveu... (Léonore)
18 Scène 2 : Dans ce beau jour... (Isabelle, Léonore)
19 Scène 3 : Puis-je croire... (Isabelle, Léonore, Léandre)
20 Scène 4 : La Vénitienne
21 La Villanelle
22 Scène 5 : Vous brillez à mes yeux... (Léandre, Isabelle)
23 La Vénitienne pour l’entracte

Acte deuxième

24 Scène 1 : Vous qui ne souffrez point... (Rodolphe)
25 Scène 2 : Malgré toute l’ardeur... (Léonore, Rodolphe)
26 Duo : Que l’Amour dans nos cœurs... (Léonore, Rodolphe)
27 Scène 3 : Marche de la Fortune
28 Récitatif : Je suis fille du sort... (La Fortune)
29 Premier Air pour les Suivants de la Fortune
30 Second Air pour les Suivants de la Fortune
31 Premier et second Canaries
32 Récitatif : Vos chants ont eu pour moy... (La Fortune)
33 Scène 4 : De ses voiles épais, la nuit couvre les Cieux... (Rodolphe)
34 Scène 5 : Doux charme des ennuis... (Léandre)
35 Trio : Luci belle, dormite... (Léandre, deux musiciens)
36 Scène 6 : Mi dice la speranza... (Isabelle)
37 Scène 7 : Je me suis fait trop longtems violence... (Rodolphe)
38 Scène 8 : Je cede à mon impatience... (Isabelle, Rodolphe)
39 Scène 9 : Pour trouver un Amant... (Rodolphe)
40 On reprend la Villanelle pour l’entracte

CD II [58:47]

Acte troisième

01 Scène 1 : Transports de vengeance & de haine... (Léonore)
02 Scène 2 : A la fin vous estes vangée... (Rodolphe, Léonore)
03 Scène 3 : Laissons de ses regrets calmer la violence... (Rodolphe)
04 Scène 4 : Marche des Gondoliers
05 Gavotte
06 Rigaudon
07 Scène 5 : Mes yeux, fermez-vous à jamais... (Isabelle)
08 Scène 6 : Ciel ! que voulez-vous... (Léandre, Isabelle)

Orfeo nell’inferi

09 Scena prima : Sinfonia
10 Aria : Tartarei Numi, all’armi, all’armi... (Plutone, Coro)
11 Sinfonia
12 Scena seconda : Dominator dell’ombre... (Orfeo, Plutone)
13 Scena terza : Vittoria, mio cuore... (Orfeo, Coro)
14 Aria per gli Spirti folletti
15 Scena quarta : Al lampo... (Un’Ombra fortunata)
16 Scena quinta : Lungi da me, martiri... (Euridice)
17 Aria : Vezzi, lusinghe, ministri di beltà... (Euridice)
18 Scena sesta : Deh! per pietà mira, Orfeo, chi t’adora... (Orfeo, Euridice)
19 Scena settima : Fuggi temerario... (Plutone, Orfeo, Euridice)
20 Scena ottava : Bella, non piangere... (Plutone)
21 Aria : Si canti, si goda... (Plutone, Coro)

Le Bal, dernier divertissement

22 Marche du Carnaval
23 Récitatif : L’Hyver a beau s’armer d’Aquilons furieux... (Le Carnaval)
24 Bourrée
25 Premier et deuxième menuet en rondeau
26 Récitatif : Je veux joindre à ces jeux... (Le Carnaval)
27 Chaconne
28 Air des Masques chinois
29 Air : Per piacer... (Euridice)
30 Forlana
31 Air : Chantez, dansez, profitez... (Le Carnaval, le Chœur)

Salomé Haller (Isabelle); 
Marina de Liso (Léonore); 
Andrew Foster-Williams (Rodolphe); 
Alain Buet (Léandre); 
Mathias Vidal (One of the Arts/Musician/Slavonian/Mask/Head of the Castellans/Gondolier/Orfeo); Sarah Tynan (Euridice); 
Blandine Staskiewicz (Minerve/Fortune/Happy Shade); 
Luigi de Donato (Director/Carnival/Plutone); 
Le Concert Spirituel; 
Singers of the Center of Versailles Bar Music Center Singers

Hervé Niquet - conductor

André Campra has the distinction of being the most prominent French opera composer in the decades between Lully and Rameau, but even the operas of those two great masters are so rarely performed or recorded that it's not surprising that Campra's are virtually unknown to modern audiences. That makes this very fine recording with Hervé Niquet leading Choeur et Orchestre du Concert Spirituel and Les Chantres du Centre de musique baroque de Versailles all the more valuable and welcome to fans of the French Baroque. Campra enthusiastically embraced the innovations of Italian opera, particularly the da capo aria, that Lully had scorned. The plot of Le Carneval de Venise (obviously) even takes place in Italy in an opera theater preparing a performance, and it involves an opera within an opera; it concludes with a performance of an operatic divertissement in Italian, Orfeo nell'inferi, in which Campra unabashedly adopts Italian conventions. The French sections are similar in sound and style to Lully's operas-ballets even though Campra doesn't have Lully's genius for simple, memorable melody. Orfeo nell'inferi very skillfully uses the florid manner of late 17th century opera, and the juxtaposition of the two styles, while intriguing to modern ears, must have been absolutely revolutionary to French audiences who were finally exposed to the innovations of Italian opera. The singers, chorus, and orchestra are skilled in both the Italian and French conventions of Middle Baroque performance practice and they offer a compelling account of the piece. The orchestra and the chorus (which is used very prominently in the French sections) play and sing with precision and lively energy. Niquet's tempos are fluid and he maintains a strong sense of momentum throughout. The soloists are never less than adequate and several stand out, particularly sopranos Salomé Haller and Sarah Tynan, tenor Mathias Vidal, baritone Andrew Foster-Williams, and bass Luigi de Donato. Glossa's sound is characteristically immaculate present and beautifully balanced. --- Stephen Eddins, Rovi

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Louis-Nicolas Clérambault (1676-1749)
01 Sonata II in G major, La Félicité (C.52), for two violins and basso continuo: Lentement - Allegro

André Campra (1660-1744)
02 Recitativo (Lelio): Ah, che d’amor la gioia
03 a 2 (Lelio, Il Dottore): D’un geloso core - Recitativo (Il Dottore): D’amorosi mirti
04 Aria (Lelio): Amanti godete
05 Recitativo (Leonora): Alle vaghe lusinghe
06 Aria (Leonora): All’incanto d’un bel riso
07 Recitativo (Lelio): Adorata Leonora

Louis-Nicolas Clérambault
08 Sonata II in G major, La Félicité (C.52): Allegro - [Gavotte] - [Gigue] - Lent

André Campra
09 Recitativo (Leonora): Come, come dar fede
10 Aria (Leonora): La farfalla intorno ai fiori
11 Recitativo (Lelio): Idolo mio, t’arresta
12 Aria (Leonora): Pargoletti faretrati
13 Recitativo (Lelio): Idolo mio, già l’alma
14 a 2 (Lelio, Il Dottore): Vezzosette care pupillete
15 Recitativo (Leonora): Non rispondere, Amore
16 Aria (Leonora): Vuo’ vendetta
17 Recitativo (Leonora): Ma, Leonora, che pensi?
18 Aria (Leonora): Lungi da me martiri
19 Recitativo (Leonora): Ma ecco, che la quiete
20 a 2 (Il Dottore, Lelio): Luci belle
21 Recitativo (Leonora): Ecco che già il riposo
22 Aria (Leonora): Amor diletto
23 Recitativo (Il Dottore): La mia amata Leonora
24 a 2 (Il Dottore, Leonora): Bell’idolo d’amore
25 Recitativo (Leonora): Molesto mi è Il Dottore
26 Aria (Leonora): Amor te’l giuro affé

Louis-Nicolas Clérambault
27 Sonata V in D major, Chaconne (C.55), for violin and basso continuo

André Campra
28 Recitativo (Leonora): L’unico ben
29 Aria (Leonora): Non si puo’ vede
30 Aria (Leonora): Si scherzi si rida
31 Recitativo (Lelio): Se l’amata Leonora
32 Aria (Leonora): Ch’io viva senza te
33 Contre-danse
34 a 3 (Leonora, Il Dottore, Lelio): Tutti lieti festeggiate

Roberta Invernizzi, dessus [Leonora]
Cyril Auvity, haute-contre [Lelio]
Salvo Vitale, basse [Il Dottore]

La Risonanza
Ana Liz Ojeda - violin
Claudia Combs - violin
Caterina Dell’Agnello - basse de violon
Gabriele Palomba - theorbo
Fabio Bonizzoni - harpsichord & direction

Fabio Bonizzoni has come up with another imaginative and enticing programme for his latest Glossa release, creating an Italian “pastiche” drama with music by André Campra and with the starring presence of soprano Roberta Invernizzi. This is the next new hit from La Risonanza to follow on discs devoted to music by Handel, Lully and Alessandro Scarlatti.

André Campra, a major figure in the world of French opera between Lully and Rameau, was clearly not very impressed by the former’s discouragement of Italian musical practices inside France when he was elevated to the post of surintendant de la musique du roi. In many of Campra’s French opéras-ballets and comédies-lyriques written by him as the 18th century was emerging out of the 17th (the period of the summit and the waning of the reign of Louis XIV) are to be found interpolated many dashing arias with texts in Italian (Campra’s father was Italian-born like Lully padre e figlio) and from some of these Fabio Bonizzoni and Angela Romagnoli have chosen and concocted Gli strali d’Amore (Love’s Arrows), thereby, curiously, following in the footsteps of Campra himself – who was a dab hand at this activity himself, as demonstrated by his own Les Fragments de Mr. De Lully.

Joining Bonizzoni and Invernizzi (Glossa has recently issued a “Portrait” album involving the Milanese soprano) in this delightful sequence of recitatives and da capo arias recorded in Tuscan Brunello are the impressive Cyril Auvity and Salvo Vitale, and a sprightly La Risonanza, together with an informative booklet essay from Barbara Nestola. ---glossamusic.com

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. ---James Manheim, AllMusic Review

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