1. L'Isola Disabitata	1:18:09

Costanza - Raffaella Milanesi                                  
Enrico  - Davide Luciano   
Gernando - Alessandro Scotto di Luzio                                              
Silvia - Silvia Frigato   
Matilde Serao - Antonella Morea

Orchestra of San Carlo Theatre
Rinaldo Alessandrini - conductor

L’isola disabitata (The Desert island) is part of the tribute Teatro di San Carlo is paying to its illustrious past: the recovery of the great Neapolitan tradition represents one of the leitmotifs of the house’s recent seasons, which saw a series of successful productions of operas by Domenico Cimarosa, Domenico Sarro and Niccolò Jommelli. The occasion of this production was also the 300th birthday of Niccolò Jommelli (he was born in Aversa, not far from Naples in 1714, the same year as Gluck).

Jommelli was Kapellmeister to the Duke of Württemberg at Stuttgart, where he wrote this and other operas, including L’Olimpiade and Fetonte, in which he introduced a free use of accompanied recitative and broke with the tradition of the da capo aria, thus anticipating Gluck. In his time, Jommelli was as celebrated and important a composer as the German opera reformer, and at the apex of his career, was one of the best paid and influential composers in all Europe, whose orchestral writing in opera influenced the Mannheim Symphonists. The reasons for his neglect in the the late 19th and 20th centuries have nothing to do with his ability as an opera composer, as at the time Rossini was working in Naples for the Teatro San Carlo, some of Jommelli's operas were regarded as gems.

L’isola disabitata is quite a rarity: composed in 1761 to a libretto by Pietro Metastasio also set in music by Haydn, this is the first time it has been presented in Naples. The plot concerns Costanza, abandoned (or so she believes) by her husband Gernando on a desert island, along with her sister, Silvia. Gernando and his friend, Enrico, have in fact been taken by pirates, and only after 13 years they managed to escape. Back to the island, Gernando hopes to find Costanza and Silvia still alive, but he discovers an inscription in a rock which leads him to think Costanza is dead: however, at the end disaster is averted and a happy ending ensues, as Costanza and Gernando are reunited, and Enrico and Silvia fall in love.

The island that director Mariano Bauduin imagines is a graveyard with tomb sculptures and the mute presence of a young couple who represent, according to the stage directions, Orpheus and Eurydice. He also (and incongruously) adds to the cast the presence of Matilde Serao, a famous Neapolitan female journalist and writer in the late 19th century, who has the task of telling the background story. Even more, one of most famous historical buildings in Naples – the Palazzo Donna Anna – is pictured on a backdrop, as it is chosen as a metaphor of the history of Naples, where “everything always seems on the verge of collapse and, instead, rises again”. It was too much for a poor, unpretentious Baroque libretto. The director’s attempt to fill the text with more ideas than it can bear caused an overload of confused suggestions.

The original cast being meant for all castrati, the opera was performed here by two sopranos, a tenor and a baritone. These changes, of course necessary, may have contributed to make a very clear and balanced score, preserving in some way the dramatic grandeur of Jommelli, mainly evident in the three great lamenting arias.

The production boasts very beautiful costumes (Marianna Carbone) and the scenes (Dario Gessati), with very convincing performances by the singers. Soprano Raffaella Milanesi (Costanza) has been working on the rediscovery of operas from the 18th century, like Salieri’s La grotta di Trofonio, Martin y Soler’s La capricciosa corretta and Traetta’s Antigona. She lent Costanza her vocal elegance and virtuosity, her dark soprano being particularly fit for this opera. Silvia Frigato is also a specialist in Baroque repertoire. Her lyric soprano voice is perfect for Silvia’s role, which, although not particularly demanding, still requires quite a bit of technique combined with sustained legatos.

Baritone Davide Luciano was a masterful Gernando. Luciano sang with a warm, resounding voice and a real compassion for his (supposed) loss, showing a beautiful control of his dark-toned and rich voice, although perhaps with not enough agility. In recitatives, he displayed his understanding of Baroque operatic style, with good musicianship, expressiveness and clarity of text. Alessandro Scotto di Luzio as Enrico had genuine vocal chemistry with Silvia. He was most remarkable for his suitability for the role, as he captured the emotional sentiment of each aria well, along with delicacy and style.

Rinaldo Alessandrini conducted the admirable Orchestra of San Carlo with energy and flair, and provided a dynamic and flexible support to the singers. Thanks to his experience in reviving Baroque operas, he proved a perfect interpreter for Jommelli’s musical ideas. ---L’isola disabitata (The Desert island) is part of the tribute Teatro di San Carlo is paying to its illustrious past: the recovery of the great Neapolitan tradition represents one of the leitmotifs of the house’s recent seasons, which saw a series of successful productions of operas by Domenico Cimarosa, Domenico Sarro and Niccolò Jommelli. The occasion of this production was also the 300th birthday of Niccolò Jommelli (he was born in Aversa, not far from Naples in 1714, the same year as Gluck).

Jommelli was Kapellmeister to the Duke of Württemberg at Stuttgart, where he wrote this and other operas, including L’Olimpiade and Fetonte, in which he introduced a free use of accompanied recitative and broke with the tradition of the da capo aria, thus anticipating Gluck. In his time, Jommelli was as celebrated and important a composer as the German opera reformer, and at the apex of his career, was one of the best paid and influential composers in all Europe, whose orchestral writing in opera influenced the Mannheim Symphonists. The reasons for his neglect in the the late 19th and 20th centuries have nothing to do with his ability as an opera composer, as at the time Rossini was working in Naples for the Teatro San Carlo, some of Jommelli's operas were regarded as gems.

L’isola disabitata is quite a rarity: composed in 1761 to a libretto by Pietro Metastasio also set in music by Haydn, this is the first time it has been presented in Naples. The plot concerns Costanza, abandoned (or so she believes) by her husband Gernando on a desert island, along with her sister, Silvia. Gernando and his friend, Enrico, have in fact been taken by pirates, and only after 13 years they managed to escape. Back to the island, Gernando hopes to find Costanza and Silvia still alive, but he discovers an inscription in a rock which leads him to think Costanza is dead: however, at the end disaster is averted and a happy ending ensues, as Costanza and Gernando are reunited, and Enrico and Silvia fall in love.

The island that director Mariano Bauduin imagines is a graveyard with tomb sculptures and the mute presence of a young couple who represent, according to the stage directions, Orpheus and Eurydice. He also (and incongruously) adds to the cast the presence of Matilde Serao, a famous Neapolitan female journalist and writer in the late 19th century, who has the task of telling the background story. Even more, one of most famous historical buildings in Naples – the Palazzo Donna Anna – is pictured on a backdrop, as it is chosen as a metaphor of the history of Naples, where “everything always seems on the verge of collapse and, instead, rises again”. It was too much for a poor, unpretentious Baroque libretto. The director’s attempt to fill the text with more ideas than it can bear caused an overload of confused suggestions.

The original cast being meant for all castrati, the opera was performed here by two sopranos, a tenor and a baritone. These changes, of course necessary, may have contributed to make a very clear and balanced score, preserving in some way the dramatic grandeur of Jommelli, mainly evident in the three great lamenting arias.

The production boasts very beautiful costumes (Marianna Carbone) and the scenes (Dario Gessati), with very convincing performances by the singers. Soprano Raffaella Milanesi (Costanza) has been working on the rediscovery of operas from the 18th century, like Salieri’s La grotta di Trofonio, Martin y Soler’s La capricciosa corretta and Traetta’s Antigona. She lent Costanza her vocal elegance and virtuosity, her dark soprano being particularly fit for this opera. Silvia Frigato is also a specialist in Baroque repertoire. Her lyric soprano voice is perfect for Silvia’s role, which, although not particularly demanding, still requires quite a bit of technique combined with sustained legatos.

Baritone Davide Luciano was a masterful Gernando. Luciano sang with a warm, resounding voice and a real compassion for his (supposed) loss, showing a beautiful control of his dark-toned and rich voice, although perhaps with not enough agility. In recitatives, he displayed his understanding of Baroque operatic style, with good musicianship, expressiveness and clarity of text. Alessandro Scotto di Luzio as Enrico had genuine vocal chemistry with Silvia. He was most remarkable for his suitability for the role, as he captured the emotional sentiment of each aria well, along with delicacy and style.

Rinaldo Alessandrini conducted the admirable Orchestra of San Carlo with energy and flair, and provided a dynamic and flexible support to the singers. Thanks to his experience in reviving Baroque operas, he proved a perfect interpreter for Jommelli’s musical ideas. L’isola disabitata (The Desert island) is part of the tribute Teatro di San Carlo is paying to its illustrious past: the recovery of the great Neapolitan tradition represents one of the leitmotifs of the house’s recent seasons, which saw a series of successful productions of operas by Domenico Cimarosa, Domenico Sarro and Niccolò Jommelli. The occasion of this production was also the 300th birthday of Niccolò Jommelli (he was born in Aversa, not far from Naples in 1714, the same year as Gluck).

Jommelli was Kapellmeister to the Duke of Württemberg at Stuttgart, where he wrote this and other operas, including L’Olimpiade and Fetonte, in which he introduced a free use of accompanied recitative and broke with the tradition of the da capo aria, thus anticipating Gluck. In his time, Jommelli was as celebrated and important a composer as the German opera reformer, and at the apex of his career, was one of the best paid and influential composers in all Europe, whose orchestral writing in opera influenced the Mannheim Symphonists. The reasons for his neglect in the the late 19th and 20th centuries have nothing to do with his ability as an opera composer, as at the time Rossini was working in Naples for the Teatro San Carlo, some of Jommelli's operas were regarded as gems.

L’isola disabitata is quite a rarity: composed in 1761 to a libretto by Pietro Metastasio also set in music by Haydn, this is the first time it has been presented in Naples. The plot concerns Costanza, abandoned (or so she believes) by her husband Gernando on a desert island, along with her sister, Silvia. Gernando and his friend, Enrico, have in fact been taken by pirates, and only after 13 years they managed to escape. Back to the island, Gernando hopes to find Costanza and Silvia still alive, but he discovers an inscription in a rock which leads him to think Costanza is dead: however, at the end disaster is averted and a happy ending ensues, as Costanza and Gernando are reunited, and Enrico and Silvia fall in love.

The island that director Mariano Bauduin imagines is a graveyard with tomb sculptures and the mute presence of a young couple who represent, according to the stage directions, Orpheus and Eurydice. He also (and incongruously) adds to the cast the presence of Matilde Serao, a famous Neapolitan female journalist and writer in the late 19th century, who has the task of telling the background story. Even more, one of most famous historical buildings in Naples – the Palazzo Donna Anna – is pictured on a backdrop, as it is chosen as a metaphor of the history of Naples, where “everything always seems on the verge of collapse and, instead, rises again”. It was too much for a poor, unpretentious Baroque libretto. The director’s attempt to fill the text with more ideas than it can bear caused an overload of confused suggestions.

The original cast being meant for all castrati, the opera was performed here by two sopranos, a tenor and a baritone. These changes, of course necessary, may have contributed to make a very clear and balanced score, preserving in some way the dramatic grandeur of Jommelli, mainly evident in the three great lamenting arias.

The production boasts very beautiful costumes (Marianna Carbone) and the scenes (Dario Gessati), with very convincing performances by the singers. Soprano Raffaella Milanesi (Costanza) has been working on the rediscovery of operas from the 18th century, like Salieri’s La grotta di Trofonio, Martin y Soler’s La capricciosa corretta and Traetta’s Antigona. She lent Costanza her vocal elegance and virtuosity, her dark soprano being particularly fit for this opera. Silvia Frigato is also a specialist in Baroque repertoire. Her lyric soprano voice is perfect for Silvia’s role, which, although not particularly demanding, still requires quite a bit of technique combined with sustained legatos.

Baritone Davide Luciano was a masterful Gernando. Luciano sang with a warm, resounding voice and a real compassion for his (supposed) loss, showing a beautiful control of his dark-toned and rich voice, although perhaps with not enough agility. In recitatives, he displayed his understanding of Baroque operatic style, with good musicianship, expressiveness and clarity of text. Alessandro Scotto di Luzio as Enrico had genuine vocal chemistry with Silvia. He was most remarkable for his suitability for the role, as he captured the emotional sentiment of each aria well, along with delicacy and style.

Rinaldo Alessandrini conducted the admirable Orchestra of San Carlo with energy and flair, and provided a dynamic and flexible support to the singers. Thanks to his experience in reviving Baroque operas, he proved a perfect interpreter for Jommelli’s musical ideas. ---Lorenzo Fiorito, bachtrack.com

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1.Part I: Overture 		4:42  	  	  	 
2.Part I: Chi ha perduto l'amoroso (Don Narciso) 		1:51  	  	  	 
3.Part I: Oh stranissima cosa (Don Narciso) 		0:59  	  	  	 
4.Part I: Non fuggirete (Mergellina) 		2:19  	  	  	 
5.Part I: E Diana senz'altro (Don Narciso, Mergellina) 		2:17  	  	  	 
6.Part I: V'ho capito, occhi furbetti (Don Narciso) 		4:30  	  	  	 
7.Part I: Dunque, poiche volete (Mergellina, Don Narciso) 		0:39  	  	  	 
8.Part I: Ecco che viene un calandrino (Don Narciso) 		1:55  	  	  	 
9.Part I: A voi, a voi (Mergellina, Don Narciso) 		0:25  	  	  	 
10.Part I: Uccelletto, bell'uccelletto (Mergellina, Don Narciso) 		1:45  	  	  	 
11.Part I: Eh dico, dove andate … (Don Narciso, Mergellina) 		2:12  	  	  	 
12.Part I: Con me vuoi far l'amore? (Mergellina, Don Narciso) 		2:24  	  	  	 
13.Part II: Overture from Croesus 		5:49  	  	  	 
14.Part II: Chi vuol comprar (Mergellina) 		2:20  	  	  	 
15.Part II: Ma io sono pur pazza (Mergellina, Don Narciso) 		3:16  	  	  	 
16.Part II: Chi e bello non dona (Don Narciso) 		0:50  	  	  	 
17.Part II: Onde no? (Mergellina, Don Narciso) 		0:21  	  	  	 
18.Part II: Ma voglio quell'anello (Mergellina) 		4:16  	  	  	 
19.Part II: Oh fierissimo assalto (Don Narciso) 		0:22  	  	  	 
20.Part II: Esci, esci, oh che pena! 		2:07  	  	  	 
21.Part II: Gia sento i cani (Don Narciso) 		2:43  	  	  	 
22.Part II: Ma io sono anche intatto (Don Narciso) 		0:39  	  	  	 
23.Part II: March 		0:49  	  	  	 
24.Part II: Mettetevi d'intorno a questa valle (Mergellina, Don Narciso) 		1:42  	  	  
25.Part II: Narcisetto insolentello (Mergellina, Don Narciso) 		3:54  	

Emanuela Galli 	- Soprano 
Luciano Grassi - Tenor 
Orchestra da Camera Milano Classica 	
Vanni Moretto 	- Conductor

This bauble–an “intermezzo” very much like Pergolesi’s better-known La serva padrona–concerns a full-of-himself gentleman (Don Narciso) who, in search of a new female conquest, happens upon a lovely bird catcher (Mergellina) who is smarter than he: she tells him she’ll be his if he gives her the ring he wears. “The handsome man does not give presents,” he answers, and Mergellina swears revenge. She disguises herself as Diana, the huntress, appears with a pack of dogs, and convinces Don Narciso that he’s been transformed into a stag, about to be devoured by the dogs. He is so terrified that she takes pity on him and tells him the truth; this brings out the nice person in him and they make up, go hunting, and seem to be on their way to living happily ever after.

The music is nicely bubbly, all of the arias are brief and syllabic (this is not technically challenging music), and the two singers, a tenor and a soprano, do well by their characterizations. Neither has a particularly appealing voice, but the 55 minutes goes by fast. There is an overture introducing each half of the work (the second from Jommelli’s Croesus) and Vanni Moretto leads his little band, complete with horns, with impressive energy in this live performance. As I said, this is a “bauble”; if you like this sort of thing, help yourself. There’s almost nothing to it. ---www.classicstoday.com

This delightful intermezzo per musica in two acts - recounting the old story of a naïve young nobleman and of a sly girl who, after a series of squabbles and pranks, following the best of traditions, declare eternal love to each other and decide to get married - has pleased audiences ever since its first performance at the San Samuele theatre in Venice in 1750, and is here recorded for the first time. At that time the intermezzo was already a well-defined and self-standing music form, detached from opera seria, with which, originally, it had been combined. It was also, however, in a declining phase and nearing its disappearance. And yet L'uccellatrice by Niccolò Jommelli enjoyed many performances (Leipzig, 1751; Bologna, Ravenna and Vicenza, 1753; Parma, 1756; Florence, 1760; Pescia, 1772) and was even translated into French, with the score adapted and enlarged. --- Editorial Reviews, amazon.com

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Niccolo Jommelli: Giusti numi, "Didone abbandonata"

1.Giusti Dei che il Ciel reggete
2.Recitative: Cosi dicea l'abbandonata Dido
3.Accendi, oh re superbo

Niccolo Jommelli: E quando sara mai

4.Recitative: E quando sara mai che alle mie pene
5.Al mio verace affanno
6.Recitative: Ma disperdono i venti
7.Se vedrai quel freddo sasso

Francesco Durante: Sonata No. 6 per cembalo divisi in studii e divertimenti in B-Flat Major

8.I. Studio: Adagio - Allegro
9.II. Divertimento: Allegro

Niccolo Jommelli: Partir conviene

10.Partir conviene, addio!
11.Recitative: Si, parto, e ver, mia vita
12.In fosca e nera spoglia
13.Recitative: Tu intanto se il mio cor teco gia resta
14.Se parli col mio cor

Niccolo Jommelli: Perdona, amata Nice, "La gelosia"

15.Recitative: Perdono, amata Nice
16.Bei labbri, ch'Amore
17.Recitative: Son reo, non mi difendo
18.Giura il nocchier che al mare

Yetzabel Arias Fernández (soprano)
Stile Galante
Stefano Aresi (director)

This year marks the tercentenary of the birth of Neapolitan composer Niccolò Jommelli, best known for a series of operas that make such fearsome demands on their performers that their outings are few and far between. This disc breaks new ground in gathering together four of his chamber cantatas for soprano, strings and harpsichord. We know next to nothing about their genesis except that they pre-date 1753, when Jommelli decided to base himself in northern Europe. Like the operas, they place virtuosity at the service of emotional veracity, and Cuban soprano Yetzabel Arias Fernández sings them with considerable dexterity and an attractively gleaming tone. It seems churlish, given her technical expertise, to complain about her diction, but we could do with more of the words, particularly in the recitatives. Stile Galante, under Stefano Aresi, are impeccable accompanists. ---Tim Ashley, theguardian.com

Niccolò Jommelli’s (1714-74) surviving chamber cantatas for solo voice constitute only a fraction of his output. Virtually all these cantatas are intended for a solo soprano accompanied by an ensemble consisting of violins (primarily playing in unison), viola and basso continuo. Cuban-born soprano Yetzabel Arias Fernández has won prizes in singing competitions in Chimay, Naples and Rome and performed at important Festivals (and venues) in Europe with the most distinguished baroque ensembles and orchestras under Ton Koopman, Jordi Savall and Helmut Rilling, amongst others. --- arkivmusic.com

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1. Il Vologeso  (Berenike, Queen of Armenia) 		02:59:50

Sebastian Kohlhepp  (Tenor) - Lucio Vero
Sophie Marilley	 (Soprano)  - Vologeso
Ana Durlovski (Soprano) - Berenice
Helene Schneiderman (Mezzo-soprano) - Lucilla
Catriona Smith (Soprano) - Flavio
Igor Durlovski (Bass) - Aniceto

Staatsopernchor Stuttgart
Staatsorchester Stuttgart
Gabriele Ferro – conductor

On his campaign against the Parthians, Lucio Vero, co-ruler of the Roman emperor Marcus Aurelius, has fallen in love with Berenice, Queen of Armenia. She is the bride of his presumably dead enemy Vologeso. But Vologeso lives. And also Lucilla, the emperor's daughter, is not willing to abandon her claim to the hand of her fiancé Lucio Vero.

On Sunday, February 15, 2015 Niccolò Jommellis opera Il Vologeso (Berenice, Queen of Armenia) was back on an opera stage for the first time in almost 250 years. The first performance of the work took place in 1766 in the German town of Ludwigsburg near Stuttgart, in the then-largest opera house in Europe with a capacity of 3000 seats. At that time Niccolò Jommelli, world-famous composer of operas and liturgical music, had already been Court Music Conductor at the court of Duke Carl Eugen of Württemberg for 13 years. Through his work, Stuttgart had become a major venue of European opera reform.

His opera Il Vologeso is based on Apostolo Zeno's libretto Lucio Vero, which premiered at the turn of the century 1699/1700 and became one of the most popular opera plots of the 18th century. Between 1700 and 1816 at least 80 different musical versions of the piece originated; the piece was performed in over 100 different versions. The last performance of Il Vologeso took place in Lisbon in the year 1769. --- bachtrack.com

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1. Act I
2. Act II
3. Act III

Demofoonte : Peter Gronlund
Dircea : Petra Hoffmann
Timante : Martina Borst
Cherinto : Randall K Wong
Matusio : Robert Expert
Creusa : Helene Schneiderman
Adrasto : Max Emanuel Cencic

Stuttgart Baroque Ensemble
Frieder Bernius: conductor

Schwetzingen Festival 22 et 23 mai 1995

Niccolò Jommelli was an innovative opera seria composer with an extraordinary dramatic flair. He altered the contemporary opera seria, involving the orchestra in an ever greater dramatic role, and coming up with innovative ways of arriving at this result. When Jommelli arrived on the scene, Italian opera was dominated by the virtuosic solo singer, and drama was of secondary or even tertiary importance. The public went to hear their favorite singer or composer, and was enthralled by the vocal acrobatics of the virtuosi of the day. Steady streams of groups of secco recitative and exit arias, an aria which was placed at the end of the scene to encourage applause so that the singer could come back on stage, were the building blocks of opera seria, and had little connection with valid dramaturgy. Jommelli and others wanted to change that. Jommelli's compositions tended to use more obbligato recitative, which involved the orchestra as a dramatic partner with the singer. In his later life, he also wrote ensembles and choruses, which had completely gone out of vogue in Italy. His largest ensemble, the final trio in Fetonte, was an entire action scena derived from the action ensembles of comic opera, and included a varied texture of trio, chorus, solos, arioso, and obbligato recitative, as well as programmatic orchestral music. Elements of his style include harmonic and melodic daring, full use of his orchestral resources, mingling of aria and declamation, and a liberal use of chromaticism. His orchestral writing, which included dynamics and the crescendo effect and secondary themes in the dominant, directly influenced the Mannheim symphonists.

Contemporary Neapolitan composers that influenced him include Hasse and Leo, both of whom also altered the form of the opera seria for good. Jommelli's first successes were comic operas, but his serious operas were very successful also. It was from Hasse that he learned to write obbligato recitative instead of the recitative semplice that dominated Italian opera at the time. The dramatic possibilities of the orchestra were attractive to Jommelli, and he began to experiment with his resources.

In 1741 Jommelli set a text by Metastasio, the opera Ezio. It was a singular success, and commissions from Bologna, Venice, Turin, and Padua followed. In 1743, on the recommendation of his colleague Hasse, Jommelli was hired as musical director of the Ospedale degli Incurabili in Venice. For the girls there he wrote oratorios, motets, masses, and choral works. However opera was still his first love.

In 1749 he became maestro coadiutore to the papal chapel, and he composed much sacred music. But he also received commissions for operas from many major cities, for Rome was an international center. One of the most important commissions of his career came at this time, from the city of Vienna. Jommelli set the opera Achille in Sciro for the Viennese court. Metastasio, the king of opera seria librettists, was the court poet in Vienna at the time, and he was so impressed that Jommelli was a court favorite in Vienna for a time. In 1753 Jommelli received an offer to move to Stuttgart, where the Duke was particularly fond of Italian opera and French spectacle. There he was given complete control over his operatic productions, and given almost unlimited resources. He had the best singers and instrumentalists in all of Europe. He developed his obbligato recitative, wrote with great formal variety, and created dramatically complex and alive scenes and acts. Unfortunately, by the time he died, the lighter styles of the opera buffa had taken hold of the public imagination, and his operas were no longer popular. --- Rita Laurance, Rovi

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