1 Introduzione (1:54)
    2 Candidetto gelosomina (1. Akt) (4:38)
    3 Di questa poverella (5:32)
    4 Quando son giovine (1:17)
    5 Son fresca, son bella (2:51)
    6 Non raccoglie le mie foglie (4:11)		play
    7 La mia ragion è questa (2:50)
    8 Anima vile, ingrata (2:35)
    9 Se voi m'amate (2. Akt) (7:25)
    10 Il signor Don Tritemio è cittadino (2:06)
    11 Vedo quell'albero (5:10)
    12 Compatite, signor, s'io non so (3:58)
    13 Son pien di giublio (4:31)			play
    14 Amo se vuoi così (3. Akt) (5:27)
    15 Se non sei nata nobile (3:40)
    16 Lieti canori augelli (4:12)
    17 Corpo di satanasso! (2:20)

Eugenia (Don Tritemio's daughter) - Anna Moffo
Lesbina (Eugenia's maid) - Elena Rizzieri
Rinaldo (Eugenia's lover) - Florindo Andreolli
Nardo (a rich farmer, known as "the philosopher") - Rolando Panerai
Don Tritemio (Eugenia's father) - Mario Petri

Instrumental Group of the Collegium Musicum Italicum
I Virtuosi di Roma	
Renato Fasano - conductor, 1959

Baldassarre Galuppi (18th October 1706-3rd January 1785) was an Italian composer from Venice, noted for his operas, particularly opera buffa.

He was born on the island of Burano in the Venetian Lagoon, as a result of which he became known as Il Buranello. His first attempt at opera, La fede nell’incostanza ossia gli amici rivali (1722) was a spectacular failure, being hissed off the stage. He subsequently studied music with Antonio Lotti, and, after a brief period in Florence working as a harpsichordist, returned to Venice for another attempt at opera. This time, his opera seria Dorinda (1729) was a success and launched his theatrical career.

In 1740 he was appointed music director of the Ospedale dei Mendicanti, and he worked at St Mark’s in Venice from 1748, being appointed maestro di cappella, considered Venice’s top musical post, there in 1762. He lived and worked for most of his life in Venice, though from 1741 to 1743 he worked in London and from 1765 to 1768 he worked for Catherine the Great in St Petersburg.

His first opera buffa was L’Arcadia in Brenta (1749). This was also his first collaboration with librettist Carlo Goldoni, with whom he produced a number of operas. These works were very popular, with Il filosofo di campagna (1754) a particular success. ---last.fm

Playwright Carlo Goldoni and composer Baldassare Galuppi collaborated on a number of operas, and the most successful was the comedy Il Filosofo di Campagna (1754). Although there is no indication in any of the skimpy packaging information, this is a disc of excerpts, not the complete opera, which lasts close to three hours.

The selections are about evenly divided between recitatives, arias, and ensembles. The lively comic performances of soprano Anna Moffo and baritone Rolando Panerai are the CD's strongest selling points. Both are wonderfully convincing comedians, and their voices are world-class -- full, warm, and ringing. Renato Fasano, leading the Complesso Strumentale del Collegium Musicum Italicum and I Virtuosi di Roma, contributes a brilliant and fleet accompaniment. The recording departs from the score in casting Rinaldo, the hero, as a tenor rather than a soprano, an entirely justifiable decision, but Florindo Andreolli's light and feminine-sounding voice doesn't begin to stand up next to Panerai's or Moffo's.

The opera itself is light and vivacious, with strong vocal characterizations, memorable melodies, and many sly comic touches in its orchestration; it would be easy to imagine it's holding the stage if it were revived with singers and a director skilled in comedy. The sound is amazingly clean and present for a recording of this vintage. This disc of excerpts is like a tasty appetizer, which may prompt listeners to seek out a complete recording. --- Stephen Eddins, allmusic.com

Baldassare Galuppi (ur. 18 października 1706, zm. 3 stycznia 1785) – włoski (wenecki) kompozytor późnego baroku.

Urodził się na wyspie Burano na weneckiej lagunie, dlatego nazywano go często Il Buranello. Jego pierwszą operą była: La fede nell'incostanza ossia gli amici rivali (1722), która niestety została wygwizdana. Następnie Galuppi został uczniem Antonio Lottiego, i po krótkim pobycie we Florencji i pracy tam jako klawesynista, powrócił do Wenecji. Tym razem jego opera seria Dorinda (1729) była sukcesem.

W roku 1740, został dyrektorem muzyki w Ospedale dei Mendicanti, a od 1748 pracował w Bazylice Św. Marka jako maestro di cappella. W latach 1741-1743 przebywał w Londynie, a w latach 1765-1768 Katarzyna Wielka zatrudniała go w Petersburgu. Większość życia Galuppi spędził jednak w rodzimej Wenecji.

Galuppi uprawiał nowy gatunek opery – operę komiczną (opera buffa). Pierwszym dziełem tego gatunku, jakie stworzył była L'Arcadia in Brenta (1749). Tak rozpoczęła się jego długoletnia współpraca z librecistą i dramaturgiem Carlo Goldonim, której owocami była m.in. sławna opera "Filozof wiejski" (Il filosofo di Campagna – 1754). W kolejne operach: L'amante di tutte (1760) i I tre amanti ridicoli (1761) Galuppi wykorzystywał libretta swojego syna Antonia, który pisał pod pseudonimem A. Liteo.

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1.Act I. Sinfonia		4:04
2.Chorus: 'Presto, Presto, Alla Catena'	 0:42
3.Recitative: Tulia 'Ite All'opre Servili'	 0:46
4.Chorus: 'Presto, Presto, Alla Catena' 0:19
5.Recitative: Tulia 'Poiche Del Viril Sesso' 2:13
6.Recitative: Tulia 'Aurora, Ah Non Vorrei'	1:32
7.Aria: Tulia 'Fiero Leon, Che Audace' 7:42
8.Recitative: Aurora 'Che Piacer, Che Diletto'	3:05
9.Aria: Aurora 'Quegl'occhietti Si Furbetti'	6:20
10.Recitative: Graziosino 'Oh Che Gusto, Oh Che Gusto!' 0:37
11.Aria: Graziosino 'Quando Gli Augelli Cantano' 4:48
12.Arietta: Giacinto 'Madre Natura?'	1:27
13.Recitative: Giacinto 'Quasta Parucca, In Vero'	4:43
14.Aria: Giacinto 'In Quel Volto Siede Un Nume'	4:39
15.Recitative: Cintia 'Oh, Quanto Mi Fan Ridere' 0:54
16.Aria: Cintia 'Se Gli Uomini Sospirano' 5:47
17.Recitative: Tulia 'Ma Io, Per Dir Il Vero'	2:48
18.Aria: Tulia 'Cari Lacci, Amate Pene' 7:16
19.Recitative: Rinaldino 'Dov'e, Dov'e Chi Dice' 0:57
20.Aria: Rinaldino 'Gioje Care, Un Cor Dubioso' 5:34
21.Recitative: Giacinto 'O Diana Mia Gentile!' 0:41
22.Recitative: Cintia ' (Con Aurora Giacinto?)'	1:34
23.Finale I: Cintia 'Venite, O Ch'io VI Faccio' 4:28

24.Act II. Chorus And Recitative: Chosrus 'Liberta, Liberta' 8:24
25.Recitative: Tulia 'Com'e Possibile Mai' 0:40
26.Aria: Tulia 'Fra Tutti Gli Affetti'	4:30
27.Trio: Rinaldino 'Queste Rose Porporine'	1:58
28.Recitative: Rinaldino 'Osservate, Compagni: Ecco Un Naviglio' 0:34
29.Trio: Rinaldino, Giacinto, Graziosino 'A Terra, A Terra'	0:24
30.March 1:07
31.Sinfonia 0:20
32.Recitative: Cintia 'Ola, Voi Che Venite' 0:41
33.Aria: Ferramonte 'Quande Le Donne Parlano' 2:50
34.Recitative: Rinaldino 'Ah, Purtroppo Egli E Ver!' 0:38
35.Aria: Rinaldino 'Nochier Che S'abbandona'	4:13
36.Recitative: Cintia 'La Vogliamo Vedere' 3:46
37.Aria: Cintia 'Che Cosa Son Le Donne' 3:47
38.Recitative: Giacinto 'Esser Dovro Crudele' 2:46
39.Aria: Giacinto 'Al Bello Delle Femine'	5:20
40.Recitative: Aurora 'Dunque, Cintia Sgarbata' 3:12
41.Aria: Aurora 'Quando Vien La Mia Nemica'	4:44
42.Recitative: Graziosino 'Son In Un Bell'imbroglio' 0:25
43.Aria: Graziosino 'Son Di Coraggio Armato' 3:25
44.Recitative: Cintia 'Dov'e, Dov'e La Spada?' 0:29
45.Finale II: Cintia 'E Questa La Promessa' 3:14
46.Act III. Recitative: Tulia 'Ahime! Chi Mi Soccorre?' 1:21
47.Aria: Tulia 'Fino Ch'io Vivo Adorero' 2:30
48.Recitative: Ferramonte 'Io Rido Come Un Pazzo' 0:36
49.Aria: Ferramonte 'Le Donne Col Cervello'	1:44
50.Recitative: Graziosino 'Non Ne Vuo Piu Sapere'	1:00
51.Aria: Aurora 'Che Bel Regnar Contenta' 1:47
52.Recitative: Graziosino 'Colui Di Ferramonte' 2:15
53.Aria: Grziosino 'Giuro... Signora Si' 1:33
54.Recitative: Cintia 'Ah, Ch'e Un Piacere Soave' 1:26
55.Duet: Cintia 'Eccomi Al Vostro Piede' 2:46
56.Finale III: Chorus Of Women: 'Pieta, Pieta Di Noi' 2:19
57.Epilogue 	0:46

Marinella Pennicchi - soprano (Tulia)
Rosa Dominguez - mezzo-soprano (Aurora)
Mya Fracassini - mezzo-soprano (Cintia)
Lia Serafini - soprano (Rinaldino)
Furio Zanasi - baritone	(Graziosini)
Fulvio Binetti - baritone (Giacinto)
Davide Livermore - tenor (Ferromonte)
Swiss Radio choir
I Barocchisti
Diego Fasolis - conductor

Galuppi wrote around 100 operas, the first at the age of 16, as well as oratorios, choral music and harpsichord concertos. Born in Venice he travelled to London (1751) and St Petersburg (1766-68) and, according to Dr. Charles Burney, a scholar who travelled extensively in Italy during the 1770s, he had more influence on English music than any other Italian. More recently the renowned musicologist Prof. Edward Dent (1876-1957) has suggested that while Galuppi’s melody was attractive but not strikingly original; "he had a firmer grasp of harmony, rhythm, and orchestration than most of his contemporaries".

Galuppi is important in operatic history as the pioneer of the finalé, joining movements into a concerted whole in which the dramatic action reaches a crucial situation and is then developed. His most successful operas were written, as here, with the Venetian playwright Carlo Goldoni who had reformed the original ‘comedia dell'arte’ and developed this into ‘opera buffe’, thus bringing comedy into the opera house. His texts provided simplicity and directness with reduction of dialogue, more musical numbers, including arias, lovers’ duets and big final ensembles. Galuppi set the dialogue words with secco recitative. In combination Goldoni and Galuppi were said to have invented ‘opere buffe’.

First staged in Venice in the autumn of 1750, Il Mondo alla Roversa (The World turned Topsy-Turvey) with an alternative title Osia Le donne che commando or Women in Command gives the clue of the plot, which concerns an island in the Antipodes governed by a council of women. Act 1 opens with the three members of the council, Tulia (sop), Aurora (mezz) and Cintia (mezz) demonstrating their power over their spineless lovers, Giacinto (bar), Graziosino (bar), and Rinaldino (sop). The women fear the men will, being physically stronger, overthrow them. Meanwhile the men, in fact, are happy to be in a state of subjection to feminine wiles. Aurora fancies adding Giacinto, in love with Cintra, to her tally of lovers, leading to a three sided confrontation.

In Act 2 the women decide to move towards a monarchical government but none of them is agreed by a majority because "no lady will consent to be subject to another" and each protagonist ponders how to grasp the reins of power to herself. While each lady plots, some willing men arrive by boat albeit that one, Ferromonte (ten) is not as willing as the rest and believes that the ‘chains of love’ should be avoided. In the final and shortest Act, Rinaldino, convinced by Ferromonte of the necessity to overthrow female rule, saves the life of Tulia. Cintia, whose thirst for power has driven her to propose the murder of her rivals, has to humble herself before her lover, Giacinto. To Ferromonte’s great satisfaction all now accept the inevitable conclusion that ‘women in command make for a topsy-turvy world’ that can never last.

In the Chandos issue, Act 1 fits neatly on to one disc; Acts 2 & 3 on to the second. The recording, made in the auditorium of the Stelio Mulo in Lugano, features the choir of Swiss Radio with the ensemble of I Barocchisti. The foregoing will reassure Baroque specialists as to the approach, as will the fact that all the soloists are experienced in this specialist field. That means flexible, lightish voices using little vibrato allied to an ability to hold an even line in the recitatives and not let dramatic impact sag in the arias and duets. The challenge in casting the singers is to enable the listener to recognise which character is singing by the timbre of voice. Both baritones have wide ranges of tone and colour but there are times when the ear is confused as to which character is singing. At first I wondered if Fulvio Bettini as Giacinto was more suitable for Mozart’s Figaro. But no, as a Bach cantata specialist he can handle the demands of the music and brings lively runs and characterisation to his role as does the lighter voiced Furio Zanasi as Graziosini. The tenor, Davide Livermore as Ferromonte, has an edge to his voice, not inappropriate here, that indicates his Mozartain operatic work.

Of the women singers, the two mezzos are easily differentiated; the Cintia of Mya Fracassini being more towards the contralto end of that vocal register, whilst Rosa Dominguez has a distinctly lighter voice. Both sing well and with appropriate vocal and dramatic intensity in arias and duets, and with good line in the recitatives. Of the sopranos, Marinella Pennicchi as Tulia, has a pure toned light voice with a secure top and trill, and is a delight to listen to. I couldn’t say that of Lia Serafini as Rinaldino. I found raw patches in the middle of her voice that didn’t lie easily on my ear; others may react otherwise. Try CD1 tk19-20.

It is a pleasure to report that the orchestra and chorus play a full and vital part under the direction of Diego Fasolis. The recording is up to Chandos’s renowned high standards with a well-balanced sound in an airy natural acoustic. When so many issues of operatic music from this period involve recording of live performances, complete with coughs, stage movements, inappropriate applause, etc. disturbing the enjoyment. It is therefore particularly pleasing to welcome this fine recording of a rare work by a composer who made a distinct contribution to the evolution of opera.

The accompanying booklet contains brief historical notes, a synopsis, biographies of participants and a libretto with English translation. ---Robert J Farr, musicweb-international.com

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Atto I
Atto II
Atto III

Mark Tucker (Clistene) 
Ruth Rosique (Aristea)
Roberta Invernizzi (Argene)
Romina Basso (Megacle)
Franziska Gottwald (Licida)
Furio Zanasi (Alcandro)
Filippo Adami (Aminta)

Venice Baroque Orchestra
Conductor: Andrea Marcon

Teatro Malibran – La Fenice, 13 October 2006

Recorded at the Teatro Malibran of La Fenice in Venice as part of the celebrations of the third centenary of Galuppi’s birth, this sumptuous production is the first performance of L’Olimpiade in modern times, and a WORLD PREMIERE RECORDING

Galuppi (1706-1785) was considered the leading exponent of Venetian comic opera, if not its absolute creator, but it was not until recently that his non-comic operas have begun to receive serious attention. One of the lesser known renditions of Pietro Metastasio’s original 1733 libretti, this deeply emotional opera takes place in Olympia during the games and focuses on a love triangle between two best friends Megacle and Licida, and the object of their joint affection, Aristea. The Orchestra Barocca di Venezia, conducted by baroque expert Andrea Marcon, plays on original instruments from the 18th century. --- boosey.com

L'Olimpiade, based on a libretto by Metastasio, was put to music by many composers during the 18th Century; few have been recorded. This now is the version by Baldassare Galuppi - and it is brilliant.

The staging is exquisite; it is neither explicitly traditional nor is it modern. Think about the best Italian design, which despite its simplicity is lavish and elegant. The stage sets are simple. Imagine shades of beige and muted gold, few stylish props and hand-brushed silks. The two female protagonists, Aristea and Argene, look like roaring twenties flappers in sort-of-rococo retro dress; while the two male characters (Megacle sung by Romina Basso, Licida by Franziska Gottwald) look the way I always imagined young Werther. So, the staging actually supports the drama and doesn't distract with the kind of gimmicks that characterise so many Handel performances (Rinaldo being the worst I can think of).

As is the case with Vivaldi operas, there is a fair amount of lengthy recitatives, especially during the exposition. However, they do get shorter (and better) as the story reaches its climax. The conductor sets a brisk pace, so they are not really all that annoying. The story is one of many twists and turns, conflicting loyalties, broken hearts, attempted suicides, etc.... I will probably need to hear it a few times, before it all will make sense. But there is a last minute happy end, the lovers are reunited; and that's what counts.

The arias are magnificent; more in the style of Jommelli than of Vivaldi. Very tender adagio arias contrasted with bravura acts with breakneck coloratura. Especially enjoyable is the scene, in which both women, in consecutive arias, read the riot act to Licida, who appears suitably crest-fallen. All singers in this production deserve praise; there are no weak links.

Andrea Marcon and his Venice Baroque Orchestra provide rich and dramatic orchestral sound. The opera takes about three hours, but one hardly notices. I'm very happy to have this opera and I hope more of Galuppi's serious operas will be recorded. ---Armida, amazon.com

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CD 1
1 Ouverture										play
2 Act 1. Recitativo. Ma che? Sempre l'istesso...
3 Act 1. Aria. Deh, se piacer...
4 Act 1. Recitativo. Amico, ecco il momento...
5 Act 1. Aria. Io sento...
6 Act 1. Recitativo. Numi, assistenza.
7 Act 1. Aria. Opprimete...
8 Act 1. Marcia
9 Act 1. Recitativo. Romani, unico oggetto...
10 Act 1. Aria. Del piu sublime...
11 Act 1. Recitativo. Non ci pentiam...
12 Act 1. Aria. Ah, perdona...
13 Act 1. Recitativo. Io consorte...
14 Act 1. Aria. Amo te solo...
15 Act 1. Recitativo. Di Tito al pie...
16 Act 1. Aria. Parto, ma tu, ben mio...
17 Act 1. Recitativo. Vedrai, Tito, vedrai...
18 Act 1. Recitativo accompagnato. Oh Dei, Sesto...
19 Act 1. Recitativo accompagnato. Che angustia...
20 Act 1. Aria. Dal mio dolor...

CD 2
1 Act 2. Recitativo accompagnato. Oh Dei che smania...
2 Act 2. Recitativo. Sesto, dove, t'affretti?
3 Act 2. Aria. Sia lontano...
4 Act 2. Recitativo. Chi per pieta...
5 Act 2. Aria. Come potesti, oh Dio...
6 Act 2. Recitativo. Sesto, t'affretta.
7 Act 2. Aria. Fra stupido...
8 Act 2. Recitativo. Contro me...
9 Act 2. Aria. Tu infedel...
10 Act 2. Recitativo. Eppur, dolce mia sposa...
11 Act 2. Aria. Non odo gli accenti...
12 Act 2. Recitativo. E Sesto non favella.
13 Act 2. Aria. Ch'io parto reo...						play
14 Act 2. Recitativo. Posso alfene...
15 Act 2. Aria. Se mai senti...
16 Act 2. Recitativo accompagnato. Misera, che faro?
17 Act 2. Arioso. Fra tanti affanni miei...
18 Act 3. Recitativo. E puoi creder...
19 Act 3. Recitativo. Ah, non si lasci...
20 Act 3. Aria. Se all'impero...
21 Act 3. Recitativo. Ah, Vitellia!
22 Act 3. Aria. S'altro che lagrime...
23 Act 3. Recitativo. Ecco'l punto, o Vitellia...
24 Act 3. Aria. Cade spesso...
25 Act 3. Recitativo. Pria che principio...
26 Act 3. Coro Finale. Che del ciel...

Tito - Zoltán Megyesi
Vitellia - Monica González
Servilia - Zita Váradi
Sesto - Andrea Meláth
Annio - Barnabás Hegyi
Publio - Tamás Kóbor

Savaria Baroque Orchestra
Fabio Pirona, 2008

Baldassare Galuppi (18 October 1706 – 3 January 1785) was an Italian composer, born on the island of Burano in the Venetian Republic. He achieved international success, spending periods of his career in London and Saint Petersburg, but his main base remained Venice, where he held a succession of leading appointments.

In his early career Galuppi made a modest success in opera seria, but from the 1740s, together with the playwright and librettist Carlo Goldoni, he became famous throughout Europe for his comic operas in the new dramma giocoso style. To the succeeding generation of composers he was known as "the father of comic opera". Some of his mature opere serie, for which his librettists included the poet and dramatist Metastasio, were also widely popular.

Throughout his career Galuppi held official positions with charitable and religious institutions in Venice, the most prestigious of which was head of music at the Doge's chapel, St Mark's Basilica. In these various capacities he composed a large amount of religious music. He was also highly regarded as a virtuoso performer on and composer for keyboard instruments.

After Galuppi's death his music was largely forgotten. His name was brought back to public notice by the English poet Robert Browning's 1855 poem "A Toccata of Galuppi's", but this did not restore the composer's work to the general repertoire. Some of Galuppi's pieces were occasionally performed in the 200 years after his death, but it was not until the last years of the 20th century that his works were extensively revived in live performance and on record.

According to The Musical Times Galuppi, with 109 operas, was the sixth most prolific opera composer. He was called "the father of comic opera" by musicians of the generation that followed him.

From the late 20th century onwards an increasing number of Galuppi's works have been committed to disc. Among the opera recordings on CD or DVD are Il caffè di campagna (2011), La clemenza di Tito (2010), La diavolessa (2004), Didone abbandonata (2007), Il filosofo di campagna (1959 and 2001), Gusto primo, re di Svezia (2005), Il mondo alla roversa (2007), and L'Olimpiade (2009).

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Disc 1:
Act I
1. Sinfonia
2. Duetto: Ho rissolto, voglio andar
3. Recitativo: Che c'è, che c'è di nuovo
4. Cavatina a 3: Se non fossi maritato
5. Recitativo: Eh ben Signor Consorte
6. Recitativo: Pretendono i mariti
7. Aria: S'inganna chi crede
8. Recitativo: Oh! Ci mancava adesso
9. Aria: Una donna che apprezza il decoro
10. Recitativo: Serva di Don Poppone!
11. Aria: Si distingue dal nobil il vile
12. Recitativo: In questo mi rimetto
13. Aria: Chi v'ha detto del tesoro
14. Recitativo: Io non la so capire
15. Aria: Colle dame, colle dame
16. Recitativo: Si può venir?
17. Aria: Il cielo vi precipiti
18. Recitativo: Messer Falco gentil
19. Recitativo: Riverente m'inchino!
20. Recitativo: Un simil trattamento
21. Aria: Tenta invan co' suoi vapori
22. Recitativo: Il Signor Don Poppone
23. Recitativo: Sapreabbe dirmi
24. Recitativo: Non vorrei che Giannino
25. Finale 1: Conte mio, per tutti i titoli

Disc 2:
Act II
1. Recitativo: Strepiti, precipizi?
2. Recitativo: Che tremore è mai questo?
3. Aria: Chi son io, pensate prima
4. Recitativo: Che diavolo ha con me
5. Aria: Un tenero affetto
6. Recitativo: A me doppia fortuna
7. Aria: Falco mio, Falco mio
8. Recitativo: Come s'è innamorato
9. Aria: Se con quell'occhio moro
10. Recitativo: Signor, la sposa mia
11. Recitativo: Chi son questi superbi?
12. Aria: M'han lasciato in testamento
13. Recitativo: Per esempio
14. Aria: Sior como generoso
15. Recitativo: La testa non so più dove
16. Recitativo: Pur mi lusingo e spero
17. Aria: Donna belle, che bramate
18. Recitativo: Ritiratevi pur con questo lume
19. Recitativo: Siete qui?
20. Finale II: Spiriti erranti...

Act III
21. Recitativo: Offerirmi denar
22. Recitativo: Maledetti stregoni
23. Aria: Com'è stato dir non so
24. Recitativo: Il misero è ingannato
25. Aria: Più bel diletto
26. Recitativo: Tant'è, signori miei
27. Aria: Sì Signori, così è
28. Recitativo: Che bell'amor
29. Recitativo: Siete qui?
30. Aria: Veleggiar secondo il vento
31. Recitativo: Dunque sperar possiamo
32. Duetto: Oh povero mio padre
33. Recitativo: No, non credo mai più
34. Finale III: Spiriti buoni, qua comparite

Dorina – Kremena Dilcheva (alto)
Giannino, her lover – Matthias Vieweg (baritone)
Falco, hotel owner – Tom Allen (tenor)
Count Nastri – Johnny Maldondo (alto)
Countess Nastri – Bettina Pahn (soprano)
Don Poppone, a nobleman – Egbert Junghanns (bass)
Ghiandina, his housekeeper – Doerthe Maria Sandmann (soprano)
Lautten Compagney Berlin
Conductor - Wolfgang Katschner

For quite a number of people Galuppi will be most familiar, not for his music, but for Robert Browning’s poem ‘A Toccata of Galuppi’s’. In fact Galuppi started out as a keyboard player and arranger of Neapolitan opera buffa. He then went on to write opera seria, a form in which he was very successful. But in the 1740s he began to experiment, unsuccessfully, with opera buffa. Then in 1749 he produced an opera buffa to a libretto by the dramatist Goldoni. Both men would continue to write other types of drama; Goldoni pursued a successful career as a dramatist and Galuppi wrote further opera seria. But their collaboration on opera buffa was a notable one; they would write a total of 17 operas together. Goldoni would play a significant role in the widening and development of the form; his libretti provided Galuppi with a wide range of subjects, arias in a variety of metres, ensembles and grand finales. Galuppi’s settings give a significant prominence to the libretto, his arias rely less on virtuosity than those in opera seria; characterisation becomes more important. Galuppi was particularly good at seizing the opportunities that Goldoni provided in his finales; for the operas Galuppi would create a series of multi-part finales, each finale a chain of contrasting short sections, each one building on the rest. It was a model that was widely imitated by Haydn and Mozart.

But, like many innovators, the Galuppi-Goldoni operas have been eclipsed by the operas of those who built on their developments. So this recording of Galuppi and Goldoni’s 13th collaboration is most welcome. ‘La Diavolessa’ was first performed in 1755 in Venice at a theatre renowned for its spoken drama. The plot revolves around a pair of lovers Dorina (Kremena Dilcheva, alto) and Giannino (Matthias Vieweg, baritone). They are unable to marry and have run away, but are now running out of money and Dorina threatens to leave. Giannino is hoping for his father’s speedy demise in order to inherit some money. They are living at a hotel in Naples run by Falco (Tom Allen, tenor). Falco, charmed by Dorina suggests that they try and dupe Don Poppone (Egbert Junghanns, bass), who has spent years trying to excavate a treasure. Falco plans to present Dorina and Giannino as experts.

Count Nastri (Johnny Maldondo, alto) and his wife (Bettina Pahn, soprano) also arrive at the hotel; the count is also charmed by Dorina and his wife threatens to leave. But they are invited as guests at Don Poppone’s. The Don is not happy about the Count’s visit as it gets in the way of his treasure hunting. The Don takes Giannino and Dorina to be the Count and Countess and then presumes that the Count and Countess are the so-called experts. The resulting confusions are played out over the remaining acts.

The opera is prefixed buy a short sinfonia, which is played engagingly by the orchestra. The arias are lively with some charming melodic ideas and with lucid accompaniments. The orchestral ritornello are often imaginatively scored and the orchestra of the Lauten Compagney relish their opportunities. But Galuppi’s music seems to remain constantly at the service of the text and the drama; I never really felt that it took wing and became truly memorable in its own right. The most notable section is the Act 2 finale, where Giannino and Dorina are disguised as devils and participate in the raising of the ‘treasure’; here Galuppi has produced some ‘fantastic’ music which chimes in with the drama but which creates its own momentum as well.

The recording seems to have been made after a series of staged performances; the booklet is copiously illustrated with production photos. As a result, the cast are all comfortable with the drama and project Goldoni’s text in a credible and dramatic fashion. This is the sort of opera which benefits immeasurably from being sung in the audience’s language and I would love to hear a good English version; but for an international audience this original language performance is highly creditable. All the singers are securely within their roles and make the most of Galuppi’s pretty arias, with their dance-like rhythms.

Dilcheva and Vieweg are charming as the scheming pair which is a pleasure as the entire plot revolves around their ability to charm themselves out of their situations. The Count and Countess have slightly more serious roles and Pahn sings the Countess with an attractive bright soprano voice. The role of the Count was intended to be sung by a woman as a breeches role, but here it is played by counter-tenor Johnny Maldondo. His arias are some of the most serious in the opera and I felt that Maldondo did not do them justice. Though not as virtuoso as his opera seria, the music does require some virtuosity. Here Dilcheva and Pahn rather let the recording down as their fioriture is a little smudged. But Tom Allen, as the inn-keeper Falco, and Doerthe Maria Sandmann, as Don Poppone’s housekeeper, both provide notable coloratura in the context of some fine characterisation. The allocation of voice types is interesting as it does not quite conform to later practices with the major roles going to tenor and soprano and the alto and baritone being more supporting characters.

This is a creditable performance, well paced by Wolfgang Lautner. If not quite perfect, it well enables us to appreciate the strengths (and weaknesses) of Galuppi and Goldoni’s opera, and to allow us to learn more about one of the 18th century’s notable collaborations. ---Robert Hugill, musicweb-international.com

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

Joseph Cornwell , Tenor - Conte di Belfiore (Graf)
Xenia Meijer, Mezzosopran - Contessa (Gräfin)
Maria Grazia Schiavo, Sopran - Dorina (Kammerdienerin)
Giulio Mastrototaro, Baßbariton - Masotto (Gutsverwalter)
Cecile de Boever, Sopran - Livetta (Magd)
Matthias Vieweg, Bariton - Titta (Stallbursche)
Hans Jörg Mammel, Tenor - Mingone (Gärtner)

Kammerakademie Potsdam
Sergio Azzolini – conductor

10. June 2006

Baldassarre Galuppi (Burano 1706 - Venice 1785), called "Il Buranello", is one of the major Italian composers of his time, noted for his operas, and particularly opera buffa.

He first led into music thanks to his father, a skilled barber, that used to beautifully play violin at leisure. At the age of sixteen, Galuppi was employed as organist in many churches of the Venetian city center. It was during one of these occasions that the young musician dared to play in public his first opera buffa "La fede nell'incostanza" (The hope of changeableness), a spectacular failure, with Galuppi hissed off the stage. Desperate after this bad performance, he almost decided to abandon music and follow his father footprints becoming a barber. The chance to meet the famous composer Antonio Lotti changed his life, and soon Galuppi became his pupil.

Three years after Baldassarre was again on the scene. This time, his new attempt "Libretto della Dorinda" was a success and launched his great carreer. In 1748 he became maestro di cappella at San Mark's Cathedral, considered the Venetian top musical post. He lived and worked in Venice for most of his life, though he spent a few years in London, working for the Royal Theatre and in St. Petersurg working for Catherine II the Great.

He finally returned to Venice in 1768, still composing for the theatre and the Church. By the time of his death, at the age of 79 in Venice, the city that most gave him victories and defeats, Galuppi was one of the best-known and most respected figures in the Venetian musical establishment. ---isoladiburano.it

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1. Part 1 	1:03:40
2. Part 2	1:05:45

Pamela Lucciarini, soprano (Jahel), 
Silvia Vajente, soprano (Debbora), 
Elena Biscuola, alto (Barac), 
Candace Smith, alto (Sisara), 
Patrizia Vaccari, soprano (Nabal), 
Laura Antonaz, soprano (Haber) 

Orchestra Barocca di Bologna and Cappella Artemisia 
Dir. : Paolo Faldi 

Regensburg, Ancient Music Festival, May 19, 2013

Dr. Charles Burney, who in August 1770 heard Galuppi’s singing girls at the Incurabili, one of Venice’s four competing Ospedali or musical orphanages, admired both their excellent performing standard (“indeed all were such as would have merited and received great applause in the first operas of Europe”), and the quality of the music that the aging maestro was still able to write for them: “ it is generally allowed here that his last operas, and his last compositions for the church, abound with more spirit, taste, and fancy, than those of any other period of his life”.

Had Burney visited Venice and the Incurabili short earlier, on May 24, he might have attended the premiere of Jahel, a Galuppi oratorio recently unearthed at the Zurich Central Library in Switzerland — probably a remake of the score already performed at the Ospedale dei Mendicanti in 1747 and 1748. By 18th-century standards, 23 years was quite a long time-span in the change of musical taste. Perhaps that’s why in 1772 Galuppi reverted to the same subject on a different libretto and with a larger cast of characters under the title Debbora prophetissa, but the core story remained the same, based on chapters 4-5 of Judges in the version provided by the Latin Vulgate Bible.

Actually, despite the triumphs gathered by his operas in London, Saint Petersburg and Vienna, nowhere did Galuppi enjoy more popular acclaim than as a composer of Latin oratorios on Bible subjects for the Ospedali of his native Venice. It is reported that his Tres pueri hebraei in captivitate Babylonis — premiered in 1744 at the Mendicanti — scored some hundred (paying) performances, a feat comparable to those of modern musical theater. Unfortunately, the 1770 version of Jahel is all we are left with in this genre, since two more oratorios surviving in musical sources (Adamo caduto of 1747) and Il sacrificio di Jephtha of 1749) are in Italian.

At the outset of the eighteenth century, the language of oratorios at the Incurabili became exclusively Latin, to remain so under the musical directorship of Porpora, Jommelli, Cocchi, Ciampi, and Baldassare Galuppi. A similar trend affected more or less the remaining three Ospedali. Although the librettists’ choice was for a simplified variety of Latin, aping at the stock imagery from contemporary cantata and opera seria texts, one wonders whether the traditional status of Venice as a target for multinational operagoers could account for such an unexpected association between Latin and bel canto on a scale even larger than in Catholic church-service proper.

Hearing those notes again within the Scuola Grande di San Rocco — the ‘Sistine Chapel of Venice’ studded with masterpieces by Tintoretto, Titian and Tiepolo — was well worth a trip. As to the actual merit of the performance, one might regret that a few arias were pruned of their da capo, or that a harpsichord was substituted to the organ stipulated in the continuo section. Nevertheless, the sparse period band Orchestra Barocca di Bologna, some ten instrumentalists led by Paolo Faldi, sounded well attuned to style requirements, with rhythmic stamina and accurate tuning generally deserving appreciation throughout.

Not all the six singing ladies would have deserved the same applause as their early counterparts, either out of lacking experience or worn-out voices (the latter was probably the case for Candace Smith in the role of Sisara). Yet both sopranos Pamela Lucciarini in the title role and Silvia Vajente (Debbora) delivered terrific amounts of passagework, competing on a tight edge as to projection and clarion notes. In the end, Vajente apparently won by a neck thanks to a clearer diction and to the sensuous rendering of her aria “Rosa et lilio”, accompanied by a pair of obbligato mandolins. As Barac, mezzo Elena Biscuola unsheathed lovely dark color, accomplished technique and dramatic panache. Her climactic duet with Vajente (“Fugato jam maerore”, just before the final ensemble) was also praiseworthy.

Patrizia Vaccari, a coloratura soprano of considerable experience, delivered a defiant rendering of “Non horret cor forte”, much in the vein of Constanze’s “Martern aller Arten”. The taxing ‘storm’ aria for Haber, “Pugnent nubes fulminando”, emphasized the good natural qualities of young soprano Laura Antonaz, such as sterling color and easiness in ascending to the highest pitches. Her coloratura technique needs further refinement, though. ---Carlo Vitali, www.operatoday.com

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Disc: 1
  1. Gustavo I, rè di Svezia, opera: Overture
  2. Gustavo I, rè di Svezia, opera: Act 1. Recitativo. Ergilda, addio
  3. Gustavo I, rè di Svezia, opera: Act 1. Aria. Per due passion
  4. Gustavo I, rè di Svezia, opera: Act 1. Recitativo. Ferma. Oh Dio!
  5. Gustavo I, rè di Svezia, opera: Act 1. Aria. Un vero amante
  6. Gustavo I, rè di Svezia, opera: Act 1. Recitativo. Udisti? Ah, troppo intesi
  7. Gustavo I, rè di Svezia, opera: Act 1. Aria. La speranza, è alimento
  8. Gustavo I, rè di Svezia, opera: Act 1. Recitativo. Popoli è tempo
  9. Gustavo I, rè di Svezia, opera: Act 1. Aria. Arriderà pietoso
  10. Gustavo I, rè di Svezia, opera: Act 1. Recitativo. Ti seguo
  11. Gustavo I, rè di Svezia, opera: Act 1. Aria. Se il tuo bel volto
  12. Gustavo I, rè di Svezia, opera: Act 1. Recitativo. Troppo audace Dorisbe
  13. Gustavo I, rè di Svezia, opera: Act 1. Recitativo. No, non godrai
  14. Gustavo I, rè di Svezia, opera: Act 1. Aria. Delle perfide stelle
  15. Gustavo I, rè di Svezia, opera: Act 2. Recitativo. Felicissimo giorno
  16. Gustavo I, rè di Svezia, opera: Act 2. Coro e duetto. Viva, viva il nostro difensore
  17. Gustavo I, rè di Svezia, opera: Act 2. Recitativo. Acquetatevi, amici
  18. Gustavo I, rè di Svezia, opera: Act 2. Aria. Chi sà, che cosa
  19. Gustavo I, rè di Svezia, opera: Act 2. Recitativo. Dunque sperar
  20. Gustavo I, rè di Svezia, opera: Act 2. Aria. Non mi parlar d'amor

Disc: 2
  1. Gustavo I, rè di Svezia, opera: Act 2. Recitativo. Adorata Dorisbe
  2. Gustavo I, rè di Svezia, opera: Act 2. Aria. Oh, Dio! Che pena
  3. Gustavo I, rè di Svezia, opera: Act 2. Recitativo. Amo Ergilda e Dorisbe
  4. Gustavo I, rè di Svezia, opera: Act 2. Aria. Io son qual peregrino
  5. Gustavo I, rè di Svezia, opera: Act 2. Recitativo. E Learco non viene?
  6. Gustavo I, rè di Svezia, opera: Act 2. Aria. Non così tosto
  7. Gustavo I, rè di Svezia, opera: Act 2. Recitativo. Dunque sarò mai sempre
  8. Gustavo I, rè di Svezia, opera: Act 2. Recitativo. Oh, Numi!
  9. Gustavo I, rè di Svezia, opera: Act 2. Terzetto. Se quella son
  10. Gustavo I, rè di Svezia, opera: Act 3. Recitativo. Padre, sin dove mai
  11. Gustavo I, rè di Svezia, opera: Act 3. Aria. Rendere a me la pace
  12. Gustavo I, rè di Svezia, opera: Act 3. Recitativo. Nulla intentato
  13. Gustavo I, rè di Svezia, opera: Act 3. Aria. Stendi poi la mano ardita
  14. Gustavo I, rè di Svezia, opera: Act 3. Recitativo. Tosto diam fine all'opra
  15. Gustavo I, rè di Svezia, opera: Act 3. Aria. E'viltà cotesto pianto
  16. Gustavo I, rè di Svezia, opera: Act 3. Recitativo. Quanto, misera Ergilda
  17. Gustavo I, rè di Svezia, opera: Act 3. Aria. Pensa chi sei
  18. Gustavo I, rè di Svezia, opera: Act 3. Recitativo. Ah, che più non comprendo
  19. Gustavo I, rè di Svezia, opera: Act 3. Recitativo. Vieni, Learco
  20. Gustavo I, rè di Svezia, opera: Act 3. Quintetto. Si è cangiata alfin

Edit Karoly, Monika Gonzalez (soprano)
Mario Cecchetti, Filippo Pina Castiglioni (tenor)
Gabriellla Letai Kiss (mezzo-soprano)
Savaria Baroque Orchestra
Fabio Pirona - conductor

In the booklet that accompanies this release, regarding Galuppi’s (and Goldoni’s, the librettist’s) output during a certain period, the writer states that “…seventeen [operas] written within seven years means that you cannot expect originality and coherence from the librettist or the composer.” Well, Gustavo Primo comes from an earlier, opera seria period in Galuppi’s life, but like Il mondo all reversa, reviewed here several months ago (type Q3969 in Search Reviews), its appeal is nothing short of baffling. I can only imagine that the Venetians had to be entertained constantly during the 1740s and ’50s and that like American audiences did with the television series Hee-Haw or Laverne and Shirley, they took what they were given. Gustavo Primo is as dull as dirt, with King Gustav disguised as Learco until the last minute “To make the tyrant believe he has one less enemy.” But his disguise means that he was accidentally betrothed to his sister Clotilde, disguised as Dorisbe, etc. It’s excruciating.

Add to this the endless da capo arias (does it really have to take 10 minutes for a character to state “Crying like this is unworthy of you”?), predictable rhythms and orchestration (except for some fine hunting horns sprinkled about), and about 25 percent of the opera in dry recitative, and this is an almost wrist-slitting, or at least snooze-inducing, experience. The cast is excellent if slightly bored-sounding. Each member is adept at coloratura singing, Monika Gonzalez has a genuinely pretty voice, and tenor Filippo Pina Castiglioni delivers his arias in an almost haute-contre head voice that is somehow appealing, while fellow-tenor Mario Cecchetti is more manly as Learco/Gustav, and Gabriellla Letai Kiss has a mezzo voice worth hearing again elsewhere.

Fabio Pirona gets very nice playing from his Savaria Baroque Orchestra, including the horns, but he can’t breathe life into this dead duck. Some works aren’t worthy of revival and it’s pretty clear that if Vivaldi hadn’t died, there would have been little room or need for Galuppi in Venice. He’s the operatic equivalent of an old-time B-movie director (and I don’t mean the masters of film noir). He knows his craft, but the fact that he is no longer considered important is hardly an accident. Sorry to be so negative, but I can think of many better things to do with 136 minutes. This is for die-hard Rococo-nuts only. ---Robert Levine, classicstoday.com

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1.Galuppi : Concerto a quattro in G minor : Grave e adagio - Spirituoso – Allegro	6:42
2.Galuppi : La Caduta di Adamo : Part 1 "Eva, non è piu questo della pace" [Adamo]	1:07
3. Galuppi : La Caduta di Adamo : Part 1 "Sente ques'alama" [Adamo]	6:18
4.Galuppi : La Caduta di Adamo : Part 1 "Non piu, sposo, non piu ch'io sento appieno" [Eva] 0:22
5.Galuppi : La Caduta di Adamo : Part 1 "Non ti chieggo amor ne fede ma pieta, sposo, e consiglio" [Eva] 	7:22
6.Galuppi : La Caduta di Adamo : Part 1 "Che parli di serpente?" [Adamo, Angelo di Giustizia]	0:48
7.Galuppi : La Caduta di Adamo : Part 1 "Ah! Formidabil suono" [Adamo, Eva]	1:19
8.Galuppi : La Caduta di Adamo : Part 1 "Fuggiro I rei, ma indarno" [Angelo di Giustizia]		0:12
9.Galuppi : La Caduta di Adamo : Part 1 "Della giustizia eterna, esecutor fedele" [Angelo di Misericordia]	4:07
10.Galuppi : La Caduta di Adamo : Part 1 "Della giustizia eterna, esecutor fedele" [Angelo di Misericordia]	1:02
11.Galuppi : La Caduta di Adamo : Part 1 "Chi sa mentre gemono" [Angelo di Misericordia]	7:34
12.Galuppi : La Caduta di Adamo : Part 1 "Poiche cosi, tu speri" [Angelo di Giustizia, Angelo di Misericordia]	0:29
13.Galuppi : La Caduta di Adamo : Part 1 "E giusto Dio qual Padre" [Angelo di Giustizia, Angelo di Misericordia]	4:05
14.Galuppi : La Caduta di Adamo : Part 2 "Qui dove dianzi intensi del mio Signor" [Adamo, Eva, Angelo di Giustizia]	1:55
15.Galuppi : La Caduta di Adamo : Part 2 "No che vano o ingordo affetto" [Adamo]	7:28
16.Galuppi : La Caduta di Adamo : Part 2 "Fu, il maligno serpente, Signor" [Eva]		1:02
17.Galuppi : La Caduta di Adamo : Part 2 "Non so se il mio peccato" [Eva]	8:28
18.Galuppi : La Caduta di Adamo : Part 2 "Dolce speranza" [Angelo di Misericordia]	0:38
19.Galuppi : La Caduta di Adamo : Part 2 "Cara speranza del mondo" [Angelo di Misericordia] 6:39
20.Galuppi : La Caduta di Adamo : Part 2 "Adamo perche udisti la voce" [Angeli di Giustizia]	0:26
21.Galuppi : La Caduta di Adamo : Part 2 "Con la mao omnipossent" [Angelo di Giustizia]	6:45
22.Galuppi : La Caduta di Adamo : Part 2 "Signor, nell'ira tua pietoso e giusto" [Adamo]		0:49
23.Galuppi : La Caduta di Adamo : Part 2 "Amare lagrime ite a torrenti" [Adamo]	8:47
24.Galuppi : La Caduta di Adamo : Part 2 "Figli, sposo, Signor perdei" [Eva]	1:07
25.Galuppi : La Caduta di Adamo : Part 2 "Se al ciel miro lo veggo" [Eva]		7:00
26.Galuppi : La Caduta di Adamo : Part 2 "Lo, colla spada ardente" [Angelo di Misericordia, Angelo di Giustizia]	0:33
27.Galuppi : La Caduta di Adamo : Part 2 "Cara piaggia almo soggiorno" [Eva, Adamo]	1:13
28.Galuppi : La Caduta di Adamo : Part 2 "Lo per me veggio la giustizia" [Angelo di Misericordia, Angelo di Giustizia]	0:27
29.Galuppi : La Caduta di Adamo : Part 2 "Togliero le sponde al mare" [Angelo di Giustizia]	4:01
30.Galuppi : La Caduta di Adamo : Part 2 "Mentre tu questi avvolgi pensier" [Angelo di Misericordia] 0:54
31.Galuppi : La Caduta di Adamo : Part 2 "Rendero le sponde al mare" [Angelo di Misericordia]	4:26
32.Galuppi : La Caduta di Adamo : Part 2 "Si la serenata fronte vedrem di Dio placato" [Choir]	1:16
33.Galuppi : Harpsichord Concerto in G major : I Allegro	3:58
34.Galuppi : Harpsichord Concerto in G major : II Andantino con moto	2:57
35.Galuppi : Harpsichord Concerto in G major : III Allegro	4:36
36.Galuppi : Harpsichord Concerto in C major : I Allegro non tanto	4:39
37.Galuppi : Harpsichord Concerto in C major : II Largo	3:29
38.Galuppi : Harpsichord Concerto in C major : III Allegro	2:13
39.Galuppi : Harpsichord Concerto in F major : I Allegro non tanto	4:40
40.Galuppi : Harpsichord Concerto in F major : II Grave		6:01
41.Galuppi : Harpsichord Concerto in F major : III Presto	3:32
42.Galuppi : Harpsichord Concerto in C minor : I Allegro assai	3:23
43.Galuppi : Harpsichord Concerto in C minor : II Andantino	3:52
44.Galuppi : Harpsichord Concerto in C minor : III Allegro ma non presto	2:53

Mara Zampieri (soprano)
Susanna Rigacci (soprano)
Marilyn Schmeige (soprano)
Ernesto Palacio (soprano) 
Edoardo Farina (tenor)
I Solisti Veneti
Claudio Scimone (director)

Galuppi was a very accomplished composer and harpsichord player by the age of twenty with a reputation in both Venice and Florence. He was a pupil of Marcello and played for Vivaldi. He composed many serious and comic operas as well as much sacred and keyboard music. During his 79 years he travelled to St Petersburg and was well-known to the Tsar‘s family. He collaborated with the famous Italian playwright Goldoni in many projects. Goldoni‘s epigram on Galuppi: “What music! What style! What masterworks!” --- prestoclassical.co.uk

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