Disc: 1
1. Armida e Rinaldo, opera: Act 1. Sinfonia
2. Armida e Rinaldo, opera: Act 1. Coro. Sparso di pure brine
3. Armida e Rinaldo, opera: Act 1. Recitativo. Ah difendete, amiche
4. Armida e Rinaldo, opera: Act 1. Coro. Sparso di pure brine
5. Armida e Rinaldo, opera: Act 1. Recitativo. Ecco l'onda insidiosa
6. Armida e Rinaldo, opera: Act 1. Coro. Vieni al fonte del contento
7. Armida e Rinaldo, opera: Act 1. Recitativo. Che periglioso assalto!
8. Armida e Rinaldo, opera: Act 1. Coro di demoni. Qual è la man che scuote
9. Armida e Rinaldo, opera: Act 1. Aria. Frema, avvampi d'ira
10. Armida e Rinaldo, opera: Act 1. Coro di demoni. Qual sibilo orrendo
11. Armida e Rinaldo, opera: Act 1. Recitativo. Eterno Proveder
12. Armida e Rinaldo, opera: Act 1. Duettino. Qui 'l regno è del contento
13. Armida e Rinaldo, opera: Act 1. Recitativo. Addio
14. Armida e Rinaldo, opera: Act 1. Aria. Non bramo, o caro bene
15. Armida e Rinaldo, opera: Act 1. Recitativo. E non deggio seguirla!
16. Armida e Rinaldo, opera: Act 1. Cavatina. Lungi da te ben mio
17. Armida e Rinaldo, opera: Act 1. Recitativo. Forse, chissà
18. Armida e Rinaldo, opera: Act 1. Aria. Vieni a me sull'ali d'oro
19. Armida e Rinaldo, opera: Act 1. Recitativo. Oh, come in un momento
20. Armida e Rinaldo, opera: Act 1. Scena. Ahimè! Son tradita
21. Armida e Rinaldo, opera: Act 1. Recitativo. Questo arcano
22. Armida e Rinaldo, opera: Act 1. Duetto. Dilegua il tuo timore
23. Armida e Rinaldo, opera: Act 1. Recitativo. E aborrisce l'aiuto
24. Armida e Rinaldo, opera: Act 1. Aria. Vedo l'abisso orrendo

Disc: 2
1. Armida e Rinaldo, opera: Act 2. Scena. Chi sorde vi rende
2. Armida e Rinaldo, opera: Act 2. Recitativo. Misera! Il ciel m'opprime
3. Armida e Rinaldo, opera: Act 2. Aria. Ah, mi tolga almen la vita
4. Armida e Rinaldo, opera: Act 2. Coro. Ah, misera regina
5. Armida e Rinaldo, opera: Act 2. Recitativo. Siam quasi in salvo
6. Armida e Rinaldo, opera: Act 2. Cavatina. Ah, non lasciarmi, no
7. Armida e Rinaldo, opera: Act 2. Recitativo. Aspetta, traditor
8. Armida e Rinaldo, opera: Act 2. Terzetto. Strappami il cor
9. Armida e Rinaldo, opera: Act 2. Recitativo. Misera!
10. Armida e Rinaldo, opera: Act 2. Aria. Quanto è barbaro il dolore
11. Armida e Rinaldo, opera: Act 2. Coro. Ah barbaro, ah senti
12. Armida e Rinaldo, opera: Act 2. Recitativo. Della vendetta, almeno
13. Armida e Rinaldo, opera: Act 2. Aria. Io con voi la nera face
14. Armida e Rinaldo, opera: Act 2. Coro. E agl'ingrati, eterno esempio

Rinaldo - Gloria Banditelli (Alto)
Ismene - Carla Brusini (Soprano)
Armida - Anna Chierichetti (Soprano)
Ubaldo - Federico Lepre (Tenor)

Marche Pro Arte Orchestra
Coro da Camera Pro Arte
Marco Berdondini, 2002

In an age when the demand for Italian musicians throughout Europe was at its peak, Giuseppe Sarti had an exceptionally successful and varied international career. Sarti, nicknamed "Il Domenichino," was primarily known as a composer of serious and comic operas. In the late eighteenth century, when comic opera was the musical entertainment of choice and the popularity of serious opera was in decline, his opere serie attained high acclaim. Franz Joseph Haydn admired his operas. Sarti was also a distinguished composer of sacred music; an accomplished contrapuntist, he mingled his mastery of polyphony with operatic effects.

Born in Faenza, Sarti went to study with the famed educator and composer Padre Martini in Bologna at the age of 10. He wrote his first opera, Pompeo in Armenia, in 1752, and a trip to Copenhagen the following year as the director of an opera troupe led to his appointment by King Frederik V of Denmark as court kapellmeister in 1755. During a three-year sojourn starting in 1765, he staged dramatic works throughout Italy and briefly became maestro di coro at Ospedalle della Pieta in Venice. Until his final departure from Denmark after a political dispute in 1775, he took on a series of roles at court, chapel, and theater. Upon his return to Italy, Sarti won the title of maestro di capella of Milan Cathedral in 1779, and his operas were mounted in numerous European cities. Among the pupils attracted by his renown was Cherubini. In 1784, at Catherine the Great's invitation, Sarti traveled to St.Petersburg to succeed Paisiello as director of the Imperial Chapel. Intrigues led to his estrangement from court, though he was immediately engaged by Prince Potemkin. In a village in Ukraine awarded him by the Prince, he founded a singing school. After being reinstated at the St. Petersburg court in 1793, he was made director of a conservatory in the Italian mold, where he invented an apparatus to measure pitch.

Sarti absorbed local trends in his years abroad. In Copenhagen, he wrote Danish singspiels; in Russia, he incorporated French operatic elements of the kind fashionable at court, and utilized Russian folk music in dramatic works written in the vernacular. He was sensitive to instrumental color and was quick to exploit exotic instruments like the serpent when they were available. His music, which fell into oblivion after his death, displayed forceful contrasts and an expansive approach to tonal, modal, and chromatic elements.

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Disc: 1
  1. Sinfonia
  2. Introduzione: 'Dove m'inoltro' (Sabino)
  3. Aria: 'Pensieri Funesti' (Sabino)
  4. Recitativo: 'Oh dei!...Sabin!...Dove t'inoltri?' (Arminio)
  5. Aria: 'Già al mormorar del vento' (Arminio)
  6. Recitativo: 'Annio, che sento mai!' (Tito)
  7. Recitativo Accompagnato: 'Ch'io parta? Oh dio!' (Epponina)
  8. Aria: 'Trema il cor, non v'è più speme' (Epponina)
  9. Recitativo: 'Dunque quell'infelice' (Voadice)
  10. Aria: 'Se Questa, oh cor tiranno' (Voadice)
  11. Recitativo: 'Conosco alfin l'error' (Tito)
  12. Recitativo accompagnato: 'Oh ciel, che dissi!' (Tito)
  13. Aria: 'Già vi sento, e già v'intendo' (Tito)
  14. Recitativo: 'L'infelice Epponina' (Arminio)
  15. Recitativo: 'Oimè! Qualora all'idol mio ritorno' (Epponina)
  16. Recitativo accompagnato: 'Non dubitar, verrò' (Sabino)
  17. Aria: 'Là tu vedrai chi sono' (Sabino)
  18. Recitativo: 'Fermati, o mio bel nume' (Tito)
  19. Aria: 'Un dolce contento' (Annio)
  20. Recitativo: 'E ancor seguire ardisci' (Sabino)
  21. Recitativo accompagnato: 'Ah cara sposa, errai' (Sabino)
  22. Aria e duetto: 'Come partir poss'io' (Epponina)

Disc: 2
  1. Recitativo: 'E dunque a suo talento' (Annio)
  2. Aria: 'Quando il pensier figura' (Annio)
  3. Recitativo: 'Il parlar di costui' (Arminio)
  4. Aria: 'Da quel dì ch'io ti mirai' (Arminio)
  5. Recitativo: 'Questo pure il momento esser dovria' (Sabino)
  6. Recitativo accompagnato: 'Taci, m'uccidi' (Epponina)
  7. Aria: 'Con qual core, o dio, potrei' (Epponina)
  8. Recitativo: 'Che sventura fatal...' (Tito)
  9. Aria: Tigre ircana in selva ombrosa' (Tito)
  10. Recitativo: 'Oh, quanti in questo giorno' (Voadice)
  11. Scena: 'Venite, oh figli! Al vostro sen stringete' (Sabino)
  12. Aria: 'Cari figli un altro amplesso' (Sabino)
  13. Recitativo: 'E Tito avrà tal core' (Voadice)
  14. Aria: 'Quell'ira che invano' (Voadice)
  15. Recitativo: 'Sin che vive Sabino' (Tito)
  16. Terzetto: 'Sfogati pur tiranno' (Epponina, Tito, Sabino)
  17. Aria: 'Al caro bene a lato' (Epponina)
  18. Recitativo: 'E vinto sarà Tito' (Tito)
  19. Aria: 'Bella fiamma, che il seno m'accendi' (Tito)
  20. Scena: 'S'una vita infelice' (Sabino)
  21. Aria: 'In qual barbaro momento' (Sabino)
  22. Recitativo: 'Dove sono?' (Sabino)
  23. Finale: 'Di nobili allori' (Tutti)

Giulio Sabino - Sonia Prina
Epponina - Elena Monti
Tito - Giuseppe Filianoti 
Arminio - Alessandra Palomba
Voadice - Donatella Lombardi
Annio - Kremena Dilcheva 

Accademia Bizantina - Orchestra
Ottavio Dantone - Conductor

Giulio Sabino ("Julius Sabinus") is a dramma per musica (opera seria) in three acts by Giuseppe Sarti. The libretto was by Pietro Giovannini. The opera which is about the triumph of conjugal love. It is set in 1st century Gaul in the time of the Emperor Vespasian.

The opera, staged in six or seven European countries at the end of the 18th century, was the subject of a parody in Antonio Salieri's 1786 work Prima la musica e poi le parole.

It was first performed at the Teatro San Benedetto in Venice on 3 January 1781. The opera was revived in Ravenna in 1999.

Sarti was a contemporary of Mozart's and an extremely popular composer at that time. During the dinner at the end of "Don Giovanni", the orchestra plays excerpts from popular operas at the time, including Sarti's "Due Litiganti". However Sarti has been all but forgotten, there are very few recordings of his music so this set is a welcome (if pricey) opportunity to hear what else was going on around Mozart and Haydn in their heyday.

This is a 3 act opera seria, centering on the noble attempt by the Kings of the Sabines to resist the conquering Romans and protect his family. There are the standard opera seria arias about strength, love, despair, honor versus romance, etc. but Sarti manages to keep the pace moving despite the genre's somewhat stagnant conventions. Dry recitative is kept to a minimum except for a few spots, and amidst the majority of solo da capo arias Sarti colorfully utilizes orchestral recitatives, ensembles and instrumental asides. In addition, Sarti's pacing of the arias (how a certain mood, tempo or orchestral color follows another) is perfectly balanced, the music is never boring. It's also extremely technically difficult, and would be incredible save for the merely competent cast and subpar recorded sound from a live performance. Sonia Prina expectedly is the standout, handling the roulades of notes and sustained lyricism of the title character with assurance and her signature rich, bubbly/reedy contralto. Academia Bizantina is lush, transparent or forceful as the music requires (if somewhat reserved compared to other Italian period instrument groups). The rest of the cast is competent, never disappointing but rarely awe-inspiring.

At this price this one is probably a sure bet for aficionados, but otherwise not a must-have. ---AJS, amazon.com

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1.Miserere Mei Deus (S, C, T, B, Chorus) -- Adagio	5:59
2.Amplius Lava Me (S, C, B) -- Affettuoso	2:27
3.Tibi Soli Peccavi (T, Chorus) -- Largo	4:23
4.Ecce Enim In Iniquitatibus (Chorus) -- Moderato	4:08
5.Ecce Enim Veritatem (B) -- Adagio	6:49
6.Asperges Me Hyssopo (S) -- Adagio	1:16
7.Auditui Meo (S) -- Largo	3:32
8.Averte Faciem Tuam (Chorus) -- Adagio	1:34
9.Cor Mundum Crea In Me (C) -- Larghetto	5:21
10.Ne Projicias (Chorus) -- Maestoso	1:50
11.Redde Mihi Laetitiam (S) --Allegro Spiritoso	4:26
12.Libera Me De Sanguinibus (S, C, T, B) -- Andantino	4:50
13.Sacrificium Deo (C) -- Adagio	7:41
14.Benigne Fac Domine (S, C, T, B, Chorus) -- Andante, Allegro Moderato	3:18

Tamiko Okada (soprano), 
Irene Olavide (alto), 
Victor Micaleff (tenor), 
Alberto Bianchi (bass)

Faenza Lauda Sion Chorus, Ferrara
Gianfranco Placci - director

One of the most interesting figures in the history of pre-romantic Russian music is Italian composer Giuseppe Sarti. Sarti arrived in St. Petersburg in 1784 at the request of Catherine the Great and stayed until the turn of the century, dodging court intrigues and benefitting from the intervention of nobles well-disposed to him. Sarti's Te Deum to celebrate the taking of Okachov (sometimes called his "Russian Oratorio") is one of the grandest and most over-the-top sacred works of the eighteenth century, rivaling Haydn's The Creation in sheer scale and bombast, if not artistic quality. While earlier Sarti had enjoyed a prosperous career in greater Europe that included lengthy positions in Copenhagen, Venice, and Milan, it is in Russia where Sarti is best remembered and his works are heard most often.

This setting of the Miserere is not a Russian work but something Sarti composed in Venice in the mid-1760s. For that time, it is a rather conservative setting and may have been written for the Ospedale della Pietà -- Vivaldi's old stomping grounds -- where Sarti was serving as chorus master. It almost could pass for Vivaldi, given its highly florid vocal writing, certainly influenced by opera, but the Red Priest had been in the grave more than decades when it was composed. However, that didn't keep this work from being very popular; it was widely circulated in manuscript and appeared in an undated print -- probably unauthorized -- in Leipzig, and in a way it is a little surprising that this Melodiya effort is apparently the first recording of the work. Regretfully, it really isn't very well performed -- the string playing is underpowered and slack, the continuo isn't together, and some of the entrances of the choir seem a little off in spots. ---Uncle Dave Lewis, AllMusic Review

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