Aureole etc.




Nimbus on-line




If it’s the Czech works you’re after, do not hesitate

  Founder: Len Mullenger
Classical Editor: Rob Barnett


Some items
to consider

 


Enjoy the Gothenburg Symphony Orchestra wherever you are. App available for iOS and Android

Lyrita 4CDs £16 incl.postage

Lyrita 4CDs £16 incl.postage


Decca Phase 4 - 40CDs


Judith Bailey, George Lloyd


BAX Orchestral pieces


CASKEN Violin Concerto

Schumann Symphonies Rattle


Complete Brahms
Bargain price

 

REVIEW



Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
Atoll
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample
 

alternatively
CD: MDT AmazonUK AmazonUS
Sound Samples & Downloads

Domenico SCARLATTI (1679-1744)
Sinfonia III in G [2:38]
Sonata for violin and bc in d minor (K 89)* [7:34]
Sinfonia VII in C [3:52]
La Dirindina, intermezzo in 2 parts [27:54]
Sinfonia XV in B flat [4:34]
Sonata for violin and bc in d minor (K 90)* [10:59]
Sinfonia X in G [5:58]
Marina Bartoli (Dirindina) (soprano); Makoto Sakurada (Liscione) (tenor); Giulio Mastrotaro (Don Carissimo) (bass)
L'Arte dell'Arco/Federico Guglielmo (violin*)
rec. 11 - 13 September 2007, Studio Magister, Preganziol (Pv), Italy DDD
CPO 777 555-2 [63:59]

Experience Classicsonline


Operas of the 17th century usually included a serious and a comic plot. By 1700 the comical scenes had largely been removed: the dramma per musica developed into the opera seria. Comical stories were still quite popular and performed between the acts of an opera. Such pieces were called intermezzi. As most opere serie were in three acts, the intermezzi had always two parts, to be performed after the first and the second act respectively.
 
La Dirindina by Domenico Scarlatti is such an intermezzo. The librettist, Girolamo Gigli, called it a farsetta per musica, a musical farce. It is about Dirindina, a young singer who takes singing lessons from Don Carissimo, whose interest in her isn't confined to her singing skills. When she resists his approaches he tells her that other pupils of his are more forthcoming. Dirindina is in love with the castrato Liscione, though. When she and Don Carissimo are involved in a singing lesson Liscione enters and tells her that she has been invited by an opera house in Milan. She decides to go, against the wishes of Don Carissimo. When his resistance doesn't bear fruit, he tells her that he will seek her mother's assistance to make her change her mind. In the second part Liscione tells Dirindina how to behave when she enters the world of opera. He urges her to take profit from the gullibility of opera-lovers from higher circles. He then asks her whether she has any experience in performing an operatic role. She demonstrates her skills in a scene from the story of Dido, using Liscione's sword as dagger. When she performs her scene Don Carissimo approaches and thinks that the scene is for real and that Dirindina really wants to kill Liscione. He hopes she does, because then his rival will be out of the way. She then sings: "Can you so easily tear yourself away from this breast, scoundrel, while you leave me fecund and replete by you?" Don Carissimo thinks she is expecting a child from Liscione: "Either nature or the man with the knife made a mistake". When Dirindina suggests she wants to kill herself he intervenes in the interest of the 'unborn child': "We'll rather send him to the orphanage!" Dirindina and Liscione are beyond themselves with laughter. Don Carissimo still doesn't understand and the piece ends with a trio in which Don Carissimo tries to make the two marry, but they answer: "Stop I'm a capon / Stop, I'm a hen! A pair like that doesn't get together and never lays an egg".
 
This intermezzo was to be performed during the Carnival season of 1715 in the Teatro Capricana in Rome, together with Scarlatti's own opera L'Ambeto, but the performance never took place. The censor prevented the libretto from being printed, "Gigli's text being considered extremely bold, pointed and thoroughly critical of the Roman musical establishment", Federico Guglielmo writes in the liner-notes. He believes that this was the first sign of criticism of the operatic world of that time. The most famous expression of such criticism was Benedetto Marcello's book Il teatro alla moda which was published in Venice in 1720. It seems that there were quite a few people in Rome who were very interested in Gigli's libretto and Scarlatti’s music. Each group managed to disseminate its work through less official channels.
 
Intermezzi are best recorded on DVD. In this case I didn't miss a staging; the performances of the three singers are very good and they convincingly convey the plot and the way Gigli and Scarlatti have worked it out. Obviously the recitatives are more important than the arias which are rather short and not technically demanding. It is essential that there is a vivid interplay between the protagonists; that is certainly the case here. Martina Bartoli, Makoto Sakurada and Giulio Mastrotaro have found the right approach, without ever exaggerating - a great danger in this repertoire.
 
The rest of the programme is devoted to instrumental works. The four Sinfonias are from a group of 17 which have been preserved in manuscript. Some of them have served as overtures to operas, and it is quite possible that the four sinfonias on this disc were also written as overtures to lost operas. They are for strings and bc, but according to New Grove the Sinfonia XV in B flat includes a part for oboe. The liner-notes don't explain why this part is omitted here.
 
The two sonatas are intended for a solo instrument and bc. Scarlatti didn't specify the instrument on which they should be played. Recently I reviewed a disc with performances at the viola d'amore. The violin is a more common option, and Federico Guglielmo gives good readings of these sonatas.
 
The intermezzo is the main attraction of this disc: a nice piece, well sung and played. If you are interested in baroque music for the theatre you should consider this disc.
 
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


EXPLORE MUSICWEB INTERNATIONAL

Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews

 

Discographies
   Composer
      Composer surveys
   National
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
.
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

Interviews
With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site

Nostalgia

Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Comment
Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure

Announcements

 

Community
Bulletin Board

Give your opinions or seek answers

Reviewers
Pat and present

Helpers invited!

Resources
How Did I Miss That?

Currently suspended but there are a lot there with sound clips


Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Publishers
Other links
Newsgroups
Web News sites etc

PotPourri
A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Questionnaire    
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Dictionary
Magazines
Newsfeed  
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools






Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.