Dimmi gentil Daliso "Dori e Daliso"

1 Sinfonia
2 Dimmi gentil Daliso (recitativo - Dori, Daliso)
3 Ancor io Daliso mio (aria - Dori)
4 Quant’è saggio colui (recitativo - Daliso)
5 No che non voglio amar (aria - Daliso)
6 Semplice ed inesperto (recitativo - Dori, Daliso)
7 È cosa da tiranno (aria - Dori)
8 Come esperta maestra (recitativo - Daliso, Dori)
9 Pensa il mio core (aria - Daliso)
10 Ma tu ch’eri poc’anzi (recitativo - Dori, Daliso)
11 Saprò sperar costante (duetto - Daliso, Dori)

Nana, Francese e Armena ovvero Mirena e Floro
(Dresden, 1718)

Intermezzo primo
12 Son sdegnato (duetto - Floro, Mirena)
13 Promettere costanza (recitativo - Mirena, Floro)
14 Se tu mi guardi (aria - Floro)
15 Dicono che la femina (recitativo - Mirena, Floro)
16 Con il tuo ridere (aria - Mirena)
17 Lascia il fratello a parte (recitativo - Floro, Mirena)
18 Su dolce mio core (duetto - Mirena, Floro)

Intermezzo secondo del Signor Giovanni Bononcini
19 Io mi spiegai con Floro (recitativo - Mirena, Floro)
20 Già parmi mirarmi (aria - Mirena)
21 Mandami un certo Floro (recitativo - Mirena, Floro)
22 Tutto il giorno stava in letto (aria - Floro)
23 Sei una nana fina (recitativo - Mirena, Floro)
24 Sono Floro (duetto - Floro, Mirena)

Intermezzo terzo
25 Donne mie (aria - Mirena)
26 Per gelosia così (recitativo - Floro, Mirena)
27 Chi comprara, chi gustara (aria - Mirena)
28 O che garbata figlia (recitativi, ariette - Floro, Mirena)
29 Questa armena è gentile (recitativo, arietta - Floro, Mirena)
30 Voglio amarvi, adorarvi (recitativo, arietta - Mirena, Floro)
31 Bella armena t’adoro (recitativo, arietta - Floro, Mirena)
32 Ah Floro, per te mi moro (duetto - Mirena, Floro)

Elena Cecchi Fedi - soprano
Lucia Sciannimanico - contralto
Marco Orestano Cristarella - baritone

Auser Musici
Carlo Ipata - conductor

Following the recent release of the opera 'Il Bajazet' by Francesco Gasparini, [Gramophone Editor's Choice] involving Auser Musici and Carlo Ipata, Glossa is pleased to bring back a recording from 2003 (previously issued by Symphonia) containing comic intermezzi from the same composer, and from the same director – already demonstrating a perfect understanding of the style of this contemporary of Handel. As well as 'Mirena e Floro' (first performed in Dresden in 1718), the recording includes 'Dori e Daliso', a cantata featuring violins and produced for the Roman palace of the Ruspolis two years beforehand. ---prestomusic.com

Two delicious pastoral intermezzos from Rome (1716) and Dresden (1718) are given an animated, stylish performance despite lumpy interjections from the lute and Baroque guitar and occasionally... — BBC Music Magazine

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1 - 43. Ambleto

Ildegarda - Francine Girones
Gerlinda - Bruna Rizzoli
Veremonda - Giovanna Santelli
Ambleto - Elena Zilio
Valdemaro -Carlo Gaifa
Fengone - Leonardo Monreale

Orchestra Alessandro Scarlatti della RAI
Herbert Handt - conductor

Napoli, 30.9.1971

Francesco Gasparini’s Ambleto (Hamlet), having been played throughout Europe, was taken to London in 1712 by the celebrated castrato Nicolini but quickly disappeared from the scene. ---britannica.com

Amleto, an opera by Zeno and Gasparini, was brought out in 1711. Dr. Burney says it was written for Venice, but was produced at the Queen's Theatre in London, and the overture at the Queen's Theatre in London, and the overture had four movements ending with a jig. ---hamlet-shakespeare.com

A prolific composer of operas, Gasparini belonged to The Accademia Filharmonic and was a pupil in the home of Legrenzi. (It is possible that Michelangelo and Franceso Gasparini were his brothers.) Finding himself in the company of Corelli and Pasquini, Gasparini learned a great deal from their tutelage and later taught Scarlatti. The first opera, "Il Roderico" was performed in Rome (1694) and a year later Gasparini published a set of cantatas. Due to the exceptional quality of his work, he obtained the position of master of the chorus at the Ospedale della Pieta in Venice and was responsible for hiring Vivaldi as the violin master. By 1713 Gasparini had settled in Rome and became master of the chapel at S. Lorenzo. His composition of new operas was continuous but production drastically subsided after 1720. Cantatas by this important composer were expressive, cultured, refined and skillfully arranged. His arias were mostly structured in the de capo formula and homophonically harmonized. His sacred music also retains a place in musical history for their independent instrumental parts. Students of Gasparini included Quantz and the Marcellos. ---Keith Johnson, Rovi

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