CD1
1   Harpsichord Concerto in B flat major: [Allegro]
2   Harpsichord Concerto in B flat major: Recitativo - Allegro moderato, andante - Aria. Largo
3   Harpsichord Concerto in B flat major: [Rondò]
4   Concerto for 2 flutes & orchestra in G major: [Allegro]
5   Concerto for 2 flutes & orchestra in G major: [Largo]
6   Concerto for 2 flutes & orchestra in G major: Allegretto ma non tanto
7   Quartet for flute, violin, viola & cello No. 1 in D major: Allegro moderato
8   Quartet for flute, violin, viola & cello No. 1 in D major: Adagio
9   Quartet for flute, violin, viola & cello No. 1 in D major: Rondeau
10   Quartet for flute, violin, viola & cello No. 3 in D major: Allegro
11   Quartet for flute, violin, viola & cello No. 3 in D major: Adagio
12   Quartet for flute, violin, viola & cello No. 3 in D major: Tempo di menuetto
13   Quartet for flute, violin, viola & cello No. 5 in D major: Andante con variazioni
14   Quartet for flute, violin, viola & cello No. 5 in D major: Menuetto
15   Quartet for flute, violin, viola & cello No. 5 in D major: Rondo

CD2
1   Sextet for keyboard, 2 violins, viola, cello & bassoon in G major: Allegro maestoso
2   Sextet for keyboard, 2 violins, viola, cello & bassoon in G major: Siciliana. Largo ma non tanto
3   Sextet for keyboard, 2 violins, viola, cello & bassoon in G major: Rondò. Allegro vivace con gusto
4   Sestetto for keyboard, harp, violin, viola da gamba, cello & bassoon in F major: Largo non tanto. Allegro maestoso
5   Sestetto for keyboard, harp, violin, viola da gamba, cello & bassoon in F major: Largo cantabile
6   Sestetto for keyboard, harp, violin, viola da gamba, cello & bassoon in F major: Rondò. Allegro giusto
7   Quartet No. 2 for Oboe & Strings in G major: Adagio
8   Quartet No. 2 for Oboe & Strings in G major: Minuetto e trio
9   Quartet No. 2 for Oboe & Strings in G major: Finale
10   Quartet for flute, violin, viola & cello No. 4 in F major: Allegro moderato
11   Quartet for flute, violin, viola & cello No. 4 in F major: Andante
12   Quartet for flute, violin, viola & cello No. 4 in F major: Allegro
13   Quartet for flute, violin, viola & cello No. 6 in A minor: Allegro
14   Quartet for flute, violin, viola & cello No. 6 in A minor: Adagio
15   Quartet for flute, violin, viola & cello No. 6 in A minor: Finale

Andrea Coen – Fortepiano
Mara Galassi – Harp
Vittorio Ghielmi  - Viola da Gamba
Marta Mazzini - Transverse Flute
Paolo Pollastri – Oboe

L'Arte dell'Arco
Frederico Guglielmo – Director, Violin

A composer who was quite familiar to Mozart's operatic audiences, Domenico Cimarosa was the prolific creator of over 60 operas. He was the son of a poor bricklayer, coming from a working-class family. He studied music at the Conservatorio Santa Maria di Loreto from 1761 until 1772. Among his teachers was the famous Piccinni, the rival of Gluck in France. His first opera was Le stravaganza del conte. It premiered in Naples in 1772, and its success was such that it brought Cimarosa immediate recognition. Cimarosa spent the next several years in Rome and Naples, and composed over twenty operas for these two cities. His operas were performed internationally in Paris, Vienna, Dresden, and London. In 1787, Catherine II invited him to St. Petersburg. During his stay in Russia, Cimarosa continued to compose at a prodigious rate. La Cleopatra and La vergine del sole are two works that were staged in 1788. Subsequently, Leopold II of Austria engaged him as court Kapellmeister in Vienna, to fill the position vacated by Salieri. One of Cimarosa's greatest successes was staged in Vienna. Il matrimonio segreto, a delightful comic opera full of invention and wit, immensely pleased the Emperor. He gave the entire cast supper, and had them perform the entire opera again that same evening. Although lacking Mozart's depth, Cimarosa's music does possess some of Mozart's qualities -- in particular, a gift for the comic, buffo style.

After the death of the Emperor, Salieri was reappointed Kapellmeister, and Cimarosa was released. He left Vienna and returned to Naples where he entered the service of the King. He was hailed in Naples as a great operatic hero, and his Il matrimonio segreto was performed 57 times running. However, Cimarosa's last years were marked by misfortune. When the French Republican army marched into Naples, Cimarosa enthusiastically declared his support of the revolution. He was immediately thrown into prison and condemned to death. The King eventually released him, but banished him from Naples. Broken in spirit, Cimarosa attempted to return to Russia, but died in Venice in 1801. Because of rumors that he was poisoned, the government was obliged to perform an autopsy. In addition to operas, Cimarosa left behind oratorios, masses, and cantatas, and some instrumental music. --- Rita Laurance, Rovi

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1. Cara, Non Dubitar
2. Lusinga, No, Non C' E
3. Io Ti Lascio, Perche Uniti
4. Eccoche Qui Sen Vien
5. Orsu, Pui Non Si Tardi
6. Udite, Tutti Udite
7. Signora Sorellina, Ch'io Le Rammenti
8. Le Faccio Un Inchino
9. Chetatevi, E Scusatela
10. E Vero Che In Casa Io Son La Padrona
11. Prima Che Arrivi Il Conte
12. Senza Tante Cerimonie
13. Certo Sarete Stanco
14. Sento In Petto Un Freddo Gelo
15. Piu A Lungo La Scoperta
16. Carolina, Son Tutto Vostro - Brillar Mi Sento Il Core
17. Si, Coraggio Mi Faccio
18. Signor, Deh Concedete...
19. Oh, Carolina
20. Perdonate, Signor Mio
21. Tu Mi Dici Che Del Conte
22. Lasciatemi, Signore, Non State A Infastidirmi
23. Silenzio, Silenzio, Che Vien Mio Fratello
24. Orsu, Saper Conviene
25. Questa Invero E Curiosa
26. Se Fiato In Corpo Avete
27. Ecco Che Or Ora Scoppia
28. Sento, Ahime Che Mi Vien Male
29. Vanne, Vanne, La Seguita
30. Pria Che Spunti In Ciel L'aurora
31. Qua Nulla Si Conclude
32. Son Lunatico, Bilioso
33. Ebben- Sei Persuasa
34. Cosa Farete- Via, Su, Parlate
35. Dunque Andra In Un Ritiro
36. Come Tacerlo Poi, Se In Un Ritiro
37. Dove- Dove, Mia Cara
38. Deh Lasciate Ch'io Respiri
39. Sarete Or Persuasa
40. Se Son Vendicata
41. Il Parlar Di Carolina
42. Deh, Ti Conforta, O Cara
43. Sortite, Sortite
44. Carolina, Fuori, Fuori...
45. Ascoltate Un Uom Di Mondo

Dietrich Fischer-Dieskau (baritone) – Geronimo, a wealthy merchant; 
Julia Varady (soprano) – Elisetta, his elder daughter, promised in marriage to the Count; 
Arleen Auger (soprano) – Carolina, his younger daughter, secretly married to Paolino; 
Julia Hamari (contralto) – Fidalma, Geronimo’s sister, widow; 
Alberto Rinaldi (baritone) – the Count; 
Ryland Davies (tenor) – Paolino, young clerk to Geronimo
English Chamber Orchestra
Daniel Barenboim - conductor

On Brilliant Classics 93962; 3 CD's; One of Barenboim's finest achievements is this recording, a set on which the singing is so gorgeous, that the listener is completely enraptured by the entire performance. Fischer-Dieskau and Varady play and sing their hearts out, while Auger's duets with Varady are among the most beautiful examples of buffa singing on record. The superb Ryland Davies, Alberto Rinaldi, and Julia Hamari make up the remainder of this outstanding cast on this outstanding recording. "Il Matrimonio Segreto" is a delightful opera which deserves to be much better known that it is. This set has been licensed by Brilliant Classics from Deutsche Grammophone for its Brilliant Opera Collection series. ---Editorial Review, amazon.com

Cimarosa already had strong ties to the Viennese imperial court, and when he arrived in the city in 1791 he quickly took a leading role. When Joseph II died, Salieri gave up his day to day duties in the opera house, and turned his attention to other forms of music. To help take up the slack, Cimarosa was appointed Kapellmeister, and Leopold quickly commissioned him to write a new opera for the court theater.

The piece he came up with was the comedy Il Matrimonio Segreto -- The Secret Marriage. The opera's story came from an English play by George Coleman and David Garrick, called The Clandestine Marriage, which premiered in 1766 at London's Drury Lane Theater, not far from today's Royal Opera House, Covent Garden.

The opera's libretto was written by Giovanni Bertati, whose rivalry with Mozart's famous librettist Lorenzo Da Ponte caused a bit of backbiting. Da Ponte praised Cimarosa's music for the opera, while declaring that opera's "words fell very far below expectations, and everyone is dissatisfied." But while Bertati's work on the whole may not have risen to the standards of Da Ponte's best efforts, The Secret Marriage was an undisputed hit, leaving the emperor satisfied enough that he ordered an immediate encore of the entire opera, after a quick break for dinner.

For the time being, Cimarosa rose to the top of the class in the unforgiving world of Viennese opera. Il Matrimonio Segreto was premiered at Vienna's Burgtheater in 1792. By 1800 the city had seen more than 70 performances of the score. Within two years of its premiere the opera had also been performed in cities all across Europe, including Leipzig, Paris, Florence and Lisbon, and by the early 19th century it had been translated into nearly a dozen languages. --- worldofopera.org

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1. L'impresario in angustie, opera: 'Ve' che matta maledetta' 
2. L'impresario in angustie, opera: 'Ma care mie, potreste senza chiasso' 	
3. L'impresario in angustie, opera: 'Senti, senti l'augellino' 	
4. L'impresario in angustie, opera: 'Cara, già ho rrevotato' 	
5. L'impresario in angustie, opera: 'Vado, e giro nei Palchetti' 	
6. L'impresario in angustie, opera: 'L'amico potta d'oje ngarzapella!' 	
7. L'impresario in angustie, opera: 'Il meglio mio carattere' 				play	
8. L'impresario in angustie, opera: 'Vi prego sor poeta' 
9. L'impresario in angustie, opera: 'Anima fella e cotta' 	
10. L'impresario in angustie, opera: 'Ora vedrò, Strabinio' 
11. L'impresario in angustie, opera: 'Io son placida e serena' 	
12. L'impresario in angustie, opera: 'Questo nemmeno scherza' 
13. L'impresario in angustie, opera: 'Lo 'mpresario, gioia mia' 
14. L'impresario in angustie, opera: 'Orsù, per me le cose' 				play
15. L'impresario in angustie, opera: 'Son donsella sì innocente'

Don Crisobolo - Angelo Romero
Fiordispina - Patrizia Zenardi
Don Perizonio - Gioaccino Zarrelli
Merlina - Paola Quagliata
Gelindo Scagliozzi - Alessandro Codeluppi
Doralba - Diana Bertini
Strabinio - Paolo Macedonio

Associazione Sinfonica Umbra - Orchestra in Canto
Fabio Maestri - conductor, 1997

A one-act farce based on the inflated personalities of stock opera talent from the 18th century, this piece is Cimarosa during his prime. In this production, his sense of melody and counterpoint has evolved beyond Paisiello and other Neapolitan composers of the time, pointing directly towards the future (specifically Rossini) in its effortlessness and beauty.

While it seems that most of the attention the booklet essay pays to goes towards the central quartetto, I found the truly astonishing portion of this opera resided in it's aria's. They've basically laid the groundwork for Rossini's traditional two-movement aria format (slow to moderate 1st; stretta finale) just bursting with melodic gems.

The ensembles (an introduzione, a mid-act quartetto, and two duetto's) are very well done and are also quite advanced in approach, construction, and wit, especially the mid-act quartetto. It is in these numbers that Cimarosa's comic sense makes it's presence known with spectacular effect as the various characters quarrel on stage as only vain 18th century performers could.

The recording itself was done by BonGiovanni. Their offers are usually hit-and-miss type affairs with this one being a bit of a miss. The performers are adequate if a bit sub-par at points but pull it off well enough. The orchestration and direction is reasonable although it doesn't quite do the liveliness of Cimarosa's opera's justice because it tends to linger in mid-range tempi. Cimarosa only comes to life with contrasting movements and up-tempo drama and humor.

There are some minor distortions that are picked up and the orchestra, at certain points during some of the aria's does over-power the performers but since Cimarosa's opera's are so hard to find I would grab this one up if you consider yourself a true fan of 18th century Neapolitan opera. ---B. Bork, amazon.com

L'impresario in angustie è una farsa per musica composta da Domenico Cimarosa nel 1786 su libretto di Giuseppe Maria Diodati.

Fu messa in scena per la prima volta nell'autunno del 1786 al Teatro Nuovo di Napoli insieme ad un'altra breve opera del compositore partenopeo, Il credulo, che già aveva rappresentato nello stesso teatro poco tempo prima. Fu successivamente data in altre città italiane e nel 1790 con il titolo L'impresario rovinato venne messa in scena a Barcellona.

L'opera è una satira teatrale è fa parte di quel filone di parodie dell'ambiente teatrale composte dopo la pubblicazione nel 1720 de Il teatro alla moda di Benedetto Marcello, con il quale attraverso opportune satire egli criticava gli eccessi dell'opera dell'epoca.

Il lavoro cimarosiano ebbe, per molti anni, un successo clamoroso e venne rappresentata in moltissimi teatri europei e spesso tradotta. Anche la musica subì, quasi per ogni rappresentazione, modifiche sostanziali con aggiunte di brani tratti da opere di altri autori, oppure composti, sempre da altri compositori, espressamente per l'adattamento. La drammaturgia subì spesso radicali rifacimenti, trasformando l'opera di volta in volta, e mutandone la struttura in due atti e in tre atti. Particolarmente documentate rimangono i rimaneggiamenti per le rappresentazioni parigine (a partire dal 1787) e viennesi (a partire dal 1793), che aggiungono alla struttura musicale originale molti nuovi pezzi (Aria per Gelindo, Aria per Strabinio, aria per Doralba ecc.) modificandone anche radicalmente in Finale originale.

Il poeta e scrittore tedesco Johann Wolfgang von Goethe assistette a una rappresentazione di questa operina a Roma nel 1787, durante il suo famoso viaggio in Italia: il lavoro gli piacque molto e lo definì un'opera che sempre rallegra. Quattro anni questa farsa verrà messa in scena a Weimar in versione revisionata e tradotta in tedesco dallo stesso Goethe con il titolo Die theatralischen Abenteuer.

L'opera, dimenticata per tutto il XIX secolo, tornò in auge a partire dagli anni '30 del novecento e venne rappresentata le prime volte al Teatro Regio di Torino e al Teatro La Scala di Milano. Edizioni moderne di questa partitura sono state approntate nel 1993 da Nick Rossi e Talmage Fauntleroy e, nel 2006, da Simone Perugini per conto dell'Accademia Lirica Toscana "D. Cimarosa". --- it.wikipedia.org

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1 	Introitus: Requiem - Kyrie - Tractus 	11:35
2 	Sequentia: Dies Irae - Tuba Mirum - Mors Stupebit - Judex Ergo - Rex Tremendae 	6:16
3 	Recordare 	5:22
4 	Ingemisco 	2:41
5 	Preces Meae 	3:06
6 	Inter Oves 	6:22
7 	Lacrymosa 	6:02
8 	Domine Jesu 	4:37
9 	Sanctus 	2:10
10 	Benedictus 	2:41
11 	Agnus Dei 	1:51
12 	Lux Aeterna 	7:08

Elly Ameling – Soprano
Birgit Finilla - Contralto
Richard Van Vrooman – Tenor
Kurt Widmer - Bass
Montreux Festival Chorus
Lausanne Chamber Orchestra
Vittorio Negri – Conductor

Composed only a few years before Mozart's own unfinished Requiem, it invites invidious comparisons, being essentially a "pièce d'occasion" composed in haste for the funeral of the wife of the ambassador of Naples and Sicily who unexpectedly died a few days after Cimarosa's arrival in St Petersburg at the invitation of Catherine the Great. It contains very little to stir the blood, least of all where you might expect it in the "Dies Irae"; the main interest lies in its rarity and the contribution of the bell-voiced Elly Ameling, especially in her slightly unusual "Tuba mirum", which has no "tuba", only two horns. The alto has a pleasantly smoky tone but is rather placid in manner. Things perk up in the "Recordare" where their duet sounds like a definite rip-off from the Pergolesi "Stabat Mater". The tenor makes a strange, grainy, mixed-falsetto sound and despatches his "Preces meae" neatly in this most operatic section. The bass is really a baritone; he has no low notes. The writing mainly features very conventional chordal progressions and stock ideas such as the obligatory "Amen" fugue in the "Lacrymosa". The orchestral playing is alert, the choir likewise, the sound good for 1969 with the voices rather prominent. ---Ralph Moore, amazon.com

Neapolitan composer Domenico Cimarosa started out as a church musician, but made his name in opera. His skills earned him court appointments, and one of them, in the mid-1780s, from Catherine the Great of Russia. It was for her court, to memorialize a deceased French ambassador, that this Requiem in G minor for soloists, chorus, and orchestra was composed in 1787. Taken for what it is, without expectation that it will much resemble Mozart's or Haydn's church music, it's an attractive work even if it's a trifle inadequate to its subject. The package blurb promises "vivid evocations" of the day of wrath and other such riches, but the music contains nothing of the sort. Instead you get some pretty rudimentary choruses surrounding some very operatic arias where you sense that Cimarosa was in his element. Most of them offer long, sustained melodies that can hold their own with the solos in Mozart's Vesperae solennes de confessore, K. 339, and other choral music of the period.

Mozart might easily have had this or other requiem settings in his head when composing his ultimate masterpiece, and anyone curious about Cimarosa's sacred output can be encouraged to give this album a try. ---James Manheim, Rovi

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CD1
1. Gli Orazii Ed I Curiazi, opera: Ouverture 
2. Gli Orazii Ed I Curiazi, opera: Act 1. Odi o ciel i nostri lai 	
3. Gli Orazii Ed I Curiazi, opera: Act 1. L'alto genio di Roma nascente 	
4. Gli Orazii Ed I Curiazi, opera: Act 1. Germe d'illustri eroi 	
5. Gli Orazii Ed I Curiazi, opera: Act 1. Oh dolce, e caro istante 
6. Gli Orazii Ed I Curiazi, opera: Act 1. Quelle pupille tenere che brillano d'amore 
7. Gli Orazii Ed I Curiazi, opera: Act 1. Se alla patria ognor donai 
8. Gli Orazii Ed I Curiazi, opera: Act 1. Scopransi i vaghi rai 					play	
9. Gli Orazii Ed I Curiazi, opera: Act 1. Ti giura il labbro e il core 	
10. Gli Orazii Ed I Curiazi, opera: Act 1. Nacqui è ver fra grandi eroi 	
11. Gli Orazii Ed I Curiazi, opera: Act 1. Quando nel campo, armato d'acciar

CD2
1. Gli Orazii Ed I Curiazi, opera: Act 2. Lasciami per pietà 	
2. Gli Orazii Ed I Curiazi, opera: Act 2. Combatteremo, trionferemo 	
3. Gli Orazii Ed I Curiazi, opera: Act 2. Se pietà nel cor serbate 	
4. Gli Orazii Ed I Curiazi, opera: Act 2. Qual densa notte! 	
5. Gli Orazii Ed I Curiazi, opera: Act 2. Ei stesso intrepido fra queste tenebre	      play 	
6. Gli Orazii Ed I Curiazi, opera: Act 2. A versar l'amato sangue 
7. Gli Orazii Ed I Curiazi, opera: Act 2. Giusti Dei! Della pugna ecco il segnal! 	
8. Gli Orazii Ed I Curiazi, opera: Act 2. Vinsi, Romani; palpitante in petto

Orazia - Angela Vercelli
Curiazio - Giulietta Simionato
Marco - Tomaso Spataro
Publio - Gino Del Signore
Sabina - Renata Broilo
Licinio - Walter Artioli
Sacerdote - Dario Caselli
Augure - Leonard Wolovsky

Orchestra Sinfonica e Coro della RAI di Milano
Carlo Maria Giulini, 13.04.1952

Gli Orazi e i Curiazi is an opera in three acts (azione tragica) composed by Domenico Cimarosa to a libretto by Antonio Simeone Sografi, based on Pierre Corneille's tragedy, Horace.

The opera was first staged on 26 December 1796 at the Teatro La Fenice in Venice, Italy . The première was so unsuccessful that Cimarosa, disappointed, decided to leave the town immediately. The run of the following performances turned into a big success, as would happen twenty years later with Rossini’s The Barber of Seville, and the second was even more successful. At least 49 performances were held throughout the season and the opera was later staged in the major European theatres — including Teatro La Scala in Milan and Napoleon’s imperial court in Paris In Europe during the 18th century Italian operas did not normally endure very long in theatres, hardly ever getting through one season. Gli Orazi e i Curiazi, however, kept running for several decades, even after the death of Cimarosa. In Venice, for example, the opera had four further runs during the six years following the première and "more than 130 performances" altogether were staged in the same period.

Synopsis

The action takes place in Rome during the war against the town of Alba Longa. The protagonists of the opera are two families, the Horatii from Rome and the Curiatii from Alba. In spite of the state of war the two families are connected as a girl from the Curiatii, Sabina, has married Marcus Horatius, the designate heir of the Roman family. During a truce in the war Horatius' daughter Horatia is in her turn given in marriage to her beloved Curiatius, leader of the Alban family. In order to avoid further major damage the two kings, Tullus Hostilius and Mettius Fufetius, reach an agreement to settle contention between the two towns through a limited encounter to the death between six champions, three from the Horatii and three from the Curiatii. The news of the agreement drives the two families to despair as the two sisters-in-law are doomed to weep over the death of either their husbands or their brothers.

In act two Horatia and Sabina, supported by the people and the priests, endeavour to prevent the abomination of a mortal challenge between relatives by swarming over the Campo Martio just as the struggle is about to start. They manage to wring a postponement in order to allow Apollo’s oracle to be consulted. Both families warriors accept this decision reluctantly. Act two ends in a grand scene in the vaults of Apollo’s temple: at first Curiatius and Horatia appear there alone, later they are joined by all the others and Curatius bewails the sad fate of those who are possibly going to shed their relatives' blood. Finally the oracle’s voice proclaims that the challenge must go on.

Act three is shorter than the others and is generally staged along with the act two. After a farewell scene between Curiatius and Horatia it shows the final encounter between Marcus Horatius, victorious in the fight, and his distressed sister. Horatia, rebelling against her fate, calls down curses from the gods upon her native town which has driven her husband to a bloody death and is in her turn slain by her furious ruthless brother and flung headlong down the staircase.

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CD1
1. Sinfonia
2. Act I. Scene 1. Introduzione: Ma tacete, ma sentite (Eurilla, Barone, Monsieur, Broccardo)
3. Scene 1. Recitativo: Dormir, corpo di Bacco! (Eurilla, Barone, Broccardo, Monsieur)
4. Scene 1. Cavatina: Vedrete un ciglio nero (Monsieur)
5. Scene 2-3. Recitativo: Questo signor pittore parigino (Barone, Eurilla)
6. Scene 4. Duetto: Dell'odiosa mai rivale (Cintia, Barone)				play
7. Scene 4-6. Recitativo: Zitto! Senza inquietarsi (Cintia, Barone)
8. Scene 6. Aria: La cara padroncina (Broccardo)
9. Scene 7. Recitativo: No, non sperate amor (Eurilla, Monsieur)
10. Scene 8. Aria: Lei comandi, Signorina (Barone)
11. Scene 9. Recitativo: Dunque non v'e rimedio (Monsieur, Eurilla)
12. Scene 9. Aria: Sul mio core invan presume (Eurilla)
13. Scene 10-11. Recitativo: Qui forse dovrт scriver (Barone, Broccardo)
14. Scene 12. Recitativo accompagnato: Si fingeva ch'io fossi (Cintia)
15. Scene 12-14. Recitativo: Ah, Madama, che fortuna (Monsieur)
16. Scene 14. Aria: Ahi, qual funesto gelo (Monsieur)
17. Scene 14. Recitativo: Vuo disfarmi di lui (Eurilla, Broccardo)
18. Last scene: Recitativo: Bravo! non si conosce (Barone, Monsieur)
19. Finale primo: Ah che a torto mi condanna (Monsieur, Barone, Broccardo, Cintia, Eurilla)

CD2
1. Finale primo (conc.): Ve lo giuro, Madamina (Monsieur, Eurilla, Barone, Cintia, Broccardo)
2. Act II. Scene 1-2. Recitativo: Cara, son qui/Sono in vostra disgrazia (Monsieur, Barone, Broccardo, Eurilla)
3. Scene 2. Cavatina: D'una donna qual io (Eurilla)
4. Scene 2-5. Recitativo: Voi la cagion siete/Eurilla m'amerebbe/Siete un portento/Dov'e il pittore?
5. Scene 5. Aria: Che gioia a possedere (Broccardo)
6. Scene 6. Recitativo: E' sempre intorno al piede (Barone, Monsieur)
7. Scene 6. Duetto: Presto finiamola (Monsieur, Barone)
8. Scene 7. Recitativo: Chi e di casa? (Cintia, Eurilla, Barone, Monsieur)
9. Scene 7. Aria: Quando e il giorno (Cintia)
10. Scene 8-9. Recitativo: E' menzogna, e impostura/Mademoiselle, addio (Eurilla, Barone, Broccardo, Monsieur)
11. Scene 9. Aria: Le dame parigine (Monsieur)
12. Scene 10. Recitativo: Oime, presto, Broccardo! (Eurilla, Broccardo, Barone)
13. Scene 11-13. Recitativo: Vorrei parlargli/Si godi pure/Oh ciel, che sento mai? (Cintia, Broccardo, Eurilla, Barone)
14. Scene 13. Aria: Dove sei, bell'idol mio? (Eurilla)								play
15. Scene 13-14. Recitativo: Si trova qui a Lione/Io m'aspetto a momenti (Barone, Broccardo, Cintia)
16. Scene 14. Rec. accomp. ed Aria: Numi, numi bestiali (Barone)
17. Scene 15. Recitativo: Maledetto pittore! (Broccardo)
18. Scene 15. Rec. accomp. ed Duetto: Che vedo... e qui, Madama (Monsieur, Eurilla)
19. Scene 16. Recitativo: Eh che n'avra di grazia (Broccardo, Cintia)
20. Finale secondo: Dev'esser lo sposo (Cintia, Broccardo, Eurilla, Monsieur, Barone)

Eurilla - Marta Szûcs
Cinzia - Veronika Kincses
Monsieur de Cretignac - Gérard Garino
Barone Cricca - József Gregor
Broccardo - Martin Klietmann

Salieri Chamber Orchestra
Támas Pál - conductor, 1988

Opera by Domenico Cimarosa (libretto by G Petrosellini), produced in Rome at the Teatro Valle, on 4 January 1781. The story concerns Eurilla, who must marry Baron Cricca if she is to receive her inheritance. However, she falls in love with Crotignac, a painter. After first choosing money, Eurilla changes her mind and decides on Crotignac.

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