Antonio Mazzoni – Aminta (Otero) [2007]

DISC 1
1 Aminta: Senza Indicazione Di Tempo	00:02:10 
2 Aminta: Andantino	00:01:52 
3 Aminta: Allegro	00:00:45 
4 Aminta: Intendo, Amico Rio	00:00:59 
5 Aminta: Bella Elisa	00:01:29 
6 Aminta: Alla Selva, Al Prato, Al Monte		00:05:58 
7 Aminta: Perdono, Amici Dei		00:01:24 
8 Aminta: So Che Pastor Son Io	00:06:43 
9 Aminta: Or Che Dici		00:00:18 
10 Aminta: Si Spande Al Sole	00:05:59 
11 Aminta: Agenore, t'arresta		00:01:11 
12 Aminta: Per Me Rispondete		00:06:21 
13 Aminta: No, Voi Non Siete		00:00:28 
14 Aminta: Di Tante Sue Procelle	00:05:56 
15 Aminta: Ah Tornasti una Volta	00:00:15 
16 Aminta: Dal Piu Fedel	00:01:25 
17 Aminta: Elisa? Aminta?	00:00:31 
18 Aminta: Vanne a Regnar	00:02:58 
19 Aminta: Seguimi	00:00:19 
20 Aminta: Al Moi Fedel	00:06:52 
21 Aminta: Questa del Campo		00:00:17 
22 Aminta: Barbaro, Oh Dio ! Mi Vedi		00:04:31 
23 Aminta: Nel Gran Cor	00:01:07 
24 Aminta: Ogni Altro Affetto Ormai	00:07:42 
25 Aminta: Agenore, Signor	00:00:45 
26 Aminta: Ah Per Voi la Piant Umile	00:07:45 

DISC 2
1 Aminta: O Per la Mia Tamiri	00:01:59 
2 Aminta: So Vincendo, Vi Rendo Felici		00:05:25 
3 Aminta: Oh In Aspeta Pettato		00:00:25 
4 Aminta: Misero Me, Ti Perdo Bella Tamiri	00:01:53 
5 Aminta: Eccomi a Te Di Nuovo	00:00:32 
6 Aminta: Dove Agenore	00:01:05 
7 Aminta: Ah Tu Non Sei Piu Moi	00:02:13 
8 Aminta: Ahi Mè, Declina Il Sol		00:02:29 
9 Aminta: Oh Me Infelice	00:00:25 
10 Aminta: L'amero, Saro Costante	00:08:46 
11 Aminta: Uscite Al Fine	00:00:36 
12 Aminta: Ma Senti Agenore		00:00:42 
13 Aminta: Io Rimaner Divisa		00:05:41 
14 Aminta: Povera ninfa	00:01:13 
15 Aminta: Se Tu Di Me Fai Dono	00:05:56 
16 Aminta: Misero cor		00:00:29 
17 Aminta: Sol Puo Dir Come Si Trova	00:05:24 
18 Aminta: Marcia	00:02:07 
19 Aminta: Voi Che Fausti Ogn'or Donate	00:05:54 
20 Aminta: Ola, Que Piu Si Tarda	00:00:44 
21 Aminta: Ah Giustizia, Signor		00:01:09 
22 Aminta: Signor, Io Sono Aminta	00:02:15 
23 Aminta: Dalla Selva, e Dall'ovile	00:00:34

Anna Maria Panzarella (Soprano)
Celine Ricci (Soprano)
Delphine Gillot (Soprano)
Marina Pardo (Mezzo soprano)
Leif Aruhn-Solén (Tenor)

Real Companía Ópera de Cámara Orchestra
Juan Bautista Otero - conductor

Here is yet another operatic masterpiece reborn thanks to Juan Bautista Otero and his splendid Réal Compania Opera de Camara. 'Aminta, il re pastore' is an extraordinary work which the famed castrato Farinelli commissioned from the Bolognese composer Mazzoni after the huge success of his two operas produced in Lisbon, 'La clemenza di Tito' and 'Antigono'. Faithfully following Metastasio's original libretto, Mazzoni composed here a sublime opera seria in 3 acts, shorter than usual, with a blend of pathos, delicacy of expression and virtuosity that gives a marvelously complete picture of what one might call 'the Farinelli sound'. --- arkivmusic.com

Antonio Mazzoni was admired in his day for his “fire and fancy” but quickly fell into oblivion after his death in 1785. His career in his native Bologna was broken by a brief spell in Lisbon; and though the evidence is not watertight, Aminta was probably commissioned by Farinelli, as impresario to King Ferdinand VI, when Mazzoni fled the Portuguese capital after the 1755 earthquake. Contrary to the implication in the cover blurb, though, Farinelli had virtually retired from singing by 1756, and did not perform any of the roles in the opera.

Juan Bautista Otero sums up Aminta as “a sublime opera seria” and goes on to praise the “surprisingly avant-garde elements of refined musical dramaturgy”. To my ears, though, Mazzoni’s opera – using the Metastasio libretto that Mozart later drew on in his Il rè pastore – is thoroughly conventional in its structure and musical language. Typically, the central theme is the tug between love and duty, resolved by a model ruler (Alexander the Great) who is almost too good to be true. The shepherd-king Aminta and Elisa, and the secondary lovers, Agenore and Tamiri, face painful dilemmas; but all the characters act from honourable motives and utter noble Enlightenment sentiments.

Mazzoni responds to this slender, slow-moving drama with a sequence of florid da capo arias, many of them virtually interchangeable. There is virtuosity galore, though I hear little of the pathos and delicacy identified by Otero. Still, the curious will find the performance lively and accomplished, with rhythmically springy playing from the period orchestra and a generally stylish cast. --- Richard Wigmore, gramophone.co.uk

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