Campra - Gli strali d’Amore (2011)

Louis-Nicolas Clérambault (1676-1749)
01 Sonata II in G major, La Félicité (C.52), for two violins and basso continuo: Lentement - Allegro

André Campra (1660-1744)
02 Recitativo (Lelio): Ah, che d’amor la gioia
03 a 2 (Lelio, Il Dottore): D’un geloso core - Recitativo (Il Dottore): D’amorosi mirti
04 Aria (Lelio): Amanti godete
05 Recitativo (Leonora): Alle vaghe lusinghe
06 Aria (Leonora): All’incanto d’un bel riso
07 Recitativo (Lelio): Adorata Leonora

Louis-Nicolas Clérambault
08 Sonata II in G major, La Félicité (C.52): Allegro - [Gavotte] - [Gigue] - Lent

André Campra
09 Recitativo (Leonora): Come, come dar fede
10 Aria (Leonora): La farfalla intorno ai fiori
11 Recitativo (Lelio): Idolo mio, t’arresta
12 Aria (Leonora): Pargoletti faretrati
13 Recitativo (Lelio): Idolo mio, già l’alma
14 a 2 (Lelio, Il Dottore): Vezzosette care pupillete
15 Recitativo (Leonora): Non rispondere, Amore
16 Aria (Leonora): Vuo’ vendetta
17 Recitativo (Leonora): Ma, Leonora, che pensi?
18 Aria (Leonora): Lungi da me martiri
19 Recitativo (Leonora): Ma ecco, che la quiete
20 a 2 (Il Dottore, Lelio): Luci belle
21 Recitativo (Leonora): Ecco che già il riposo
22 Aria (Leonora): Amor diletto
23 Recitativo (Il Dottore): La mia amata Leonora
24 a 2 (Il Dottore, Leonora): Bell’idolo d’amore
25 Recitativo (Leonora): Molesto mi è Il Dottore
26 Aria (Leonora): Amor te’l giuro affé

Louis-Nicolas Clérambault
27 Sonata V in D major, Chaconne (C.55), for violin and basso continuo

André Campra
28 Recitativo (Leonora): L’unico ben
29 Aria (Leonora): Non si puo’ vede
30 Aria (Leonora): Si scherzi si rida
31 Recitativo (Lelio): Se l’amata Leonora
32 Aria (Leonora): Ch’io viva senza te
33 Contre-danse
34 a 3 (Leonora, Il Dottore, Lelio): Tutti lieti festeggiate

Roberta Invernizzi, dessus [Leonora]
Cyril Auvity, haute-contre [Lelio]
Salvo Vitale, basse [Il Dottore]

La Risonanza
Ana Liz Ojeda - violin
Claudia Combs - violin
Caterina Dell’Agnello - basse de violon
Gabriele Palomba - theorbo
Fabio Bonizzoni - harpsichord & direction

Fabio Bonizzoni has come up with another imaginative and enticing programme for his latest Glossa release, creating an Italian “pastiche” drama with music by André Campra and with the starring presence of soprano Roberta Invernizzi. This is the next new hit from La Risonanza to follow on discs devoted to music by Handel, Lully and Alessandro Scarlatti.

André Campra, a major figure in the world of French opera between Lully and Rameau, was clearly not very impressed by the former’s discouragement of Italian musical practices inside France when he was elevated to the post of surintendant de la musique du roi. In many of Campra’s French opéras-ballets and comédies-lyriques written by him as the 18th century was emerging out of the 17th (the period of the summit and the waning of the reign of Louis XIV) are to be found interpolated many dashing arias with texts in Italian (Campra’s father was Italian-born like Lully padre e figlio) and from some of these Fabio Bonizzoni and Angela Romagnoli have chosen and concocted Gli strali d’Amore (Love’s Arrows), thereby, curiously, following in the footsteps of Campra himself – who was a dab hand at this activity himself, as demonstrated by his own Les Fragments de Mr. De Lully.

Joining Bonizzoni and Invernizzi (Glossa has recently issued a “Portrait” album involving the Milanese soprano) in this delightful sequence of recitatives and da capo arias recorded in Tuscan Brunello are the impressive Cyril Auvity and Salvo Vitale, and a sprightly La Risonanza, together with an informative booklet essay from Barbara Nestola. ---glossamusic.com

The "divertimento immaginario" offered here is just that: a group of Italian arias by André Campra, from around the turn of the 17th to the 18th century, assembled into a lighthearted tale of a little love triangle by the Italian historical-performance group La Risonanza and its leader-keyboardist, Fabio Bonizzoni. The names are redone, recitatives are added with text by Angela Romagnoli and idiomatic music by Bonizzoni himself, and the whole is interspersed with sonatas by Louis-Nicolas Clérambault. Annotator Barbara Nestola claims that Campra would have approved, and there is no reason to doubt her; appreciation of Italian opera in France did not begin with François Couperin but existed on the margins of official French style for several decades prior to that. Campra's arias were incorporated into French tragédies lyriques, circulated singly among enthusiasts, and generally written to fill a need even if the purity of the French style was officially maintained. So while there isn't direct evidence of pastiches like this, the idea would probably not have been without sense at the time. The program as a whole represents a sort of fusion of Italian and French style. It may be of most interest to avid followers of Baroque opera; the story of the divertimento as such does not hold together with much specificity. But the singing of soprano Roberta Invernizzi is as freely gorgeous as ever, and there are a few lovely arias. Sample the hypnotic sleep duet, track 20, to hear the nearly as-good male singers. The small string group and the theorbo-and-harpsichord continuo of La Risonanza creates a relaxed sound that passes for the 17th-century equivalent of a mellow romantic mood. Recommended, especially for fans of the divine Invernizzi. ---James Manheim, AllMusic Review

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