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Campra: Gli Strali D'amore / Invernizzi, Bonizzoni, La Risonanza

Campra / Invernizzi / Risonanza / Bonizzoni
Release Date: 10/25/2011 
Label:  Glossa   Catalog #: 921512  
Composer:  Louis-Nicolas ClérambaultAndré Campra
Performer:  Roberta Invernizzi
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
Number of Discs: 1 
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Notes and Editorial Reviews



CAMPRA Gli strali d’amore Fabio Bonizzoni, cond; Roberta Invernizzi ( Leonora ); Cyril Auvity ( Lelio ); Salvo Vitale ( Dottore ); La Risonanza GLOSSA 921512 (63:46 Text and Translation)


Lullian opera was, by nature, conservative. It was developed along principles of music as an affective aid to Read more creating heightened speech, which informed the theories of the Florentine Camerata—already old-fashioned by the time the composer left Italy for France in the mid 17th century. And there matters rested for a long time, as a range of musical and political forces agreed to preserve French opera from foreign influences. Johann Joachim Quantz exactly caught the exasperated mood of the new galant era to an operatic taste that must have seemed quaint and arbitrary, when he wrote after visiting Paris in 1726, “Their recitatives sing too much, and their arias, too little.”


Such was the alignment of Lully with the powerbrokers of his day that even years after his early death, his operatic style remained associated with a wholly centralized monarchy and an imperialistic France. Musical change therefore didn’t come swiftly, and when it did finally arrive during the political makeover of the French Regency, composers still hedged their bets. André Campra, one of the foremost practitioners of les goût réunis —a musical style that incorporated French and Italianate elements—incorporated specifically Italian arias within his French opéras-ballets that first appeared right before the turn of the 18th century, and continued through Les Ages in 1718. These were markedly different from French airs. They were lengthy da capo structures, rather than short rondeaus and binary movements. Cantilena on repeated words and melismatic passages that amounted to syllabic vocalises drew attention to the performers’ virtuosity, instead of the traditional French focus on singing the words expressively, as written. Even so, Campra’s arias are sometimes harmonically and vocally closer to the early Italian Baroque than Vinci or Vivaldi, as his big hit from Le Carnaval de Venise , “Luci belle, dormite,” demonstrates.


Now that we’ve finally gotten to this release, I’ll let you in on a very little secret: Gli strali d’Amore is the best opéra-ballet by Campra that the composer never wrote. Instead, a story has been woven around 18 arias from 10 of Campra’s opéras-ballets , with recitatives composed by Fabio Bonizzoni (music) and Angela Romagnoli (text). Before responding that this is outrageously inauthentic, consider that Campra himself did as much in his 1702 opéra-ballet pastiche, Les Fragments de Mr du Lully , which mixed music by Lully and Campra. The latter must have derived a great deal of pleasure in getting even with the musical dictator who had prevented his entry to the operatic stage years before.


The plot is close to that of a pastoral, a form in which Campra made outstanding contributions, though the main figures aren’t lovesick shepherds and flighty shepherdesses, but two commedia dell’arte lovers, Lelio and Leonora, and that eternally jealous suitor, Il Dottore. Interspersed sonatas by Clérambault furnish ritornelli . For the rest, Campra’s own content has great melodic charm, danceable rhythms, an active basso continuo, and a simplified role for counterpoint. Pieces such as “La farfalla intorno ai fiori” (from Les Fêtes vénitiennes ), “Pargoletti faretrati” ( La Sérénade vénitienne ), and the galant “Amor, diletto” ( Aréthuse ) touch no depths, but were not meant to; they were intended to delight. This, they accomplish handily.


Cyril Auvity is one of my two favorite high tenors currently pursuing careers, the other being Aaron Sheehan. Sheehan has a brighter voice with more metal, while Auvity has a sweeter tone; both are convincing stylists, sensitive to the needs of text and music. Auvity is allotted a few duets and only one aria here, but displays effortless figurations and an expressive inflection of the line in “Amanti godete.” Salvo Vitale has still less, just several duets and the trio at the work’s conclusion, but his firm, focused bass and good enunciation are welcome.


The lion’s share of the piece is in the hands of Roberta Invernizzi. I’ve remarked before in these pages that her voice is “rich in quality, varied in color, capable of sustaining a vigorous, lengthy phrase with a seemingly endless fund of breath, or launching coloratura thunderbolts.” Vocal production in “Amor diletto” and elsewhere is a bit uneven, with the chest more obvious in the lower notes, but her top is bright, and her figurations immaculate. Like the other performers, she does a fine job interpreting the concerted pieces, instead of leaving that solely to the recitative. Bonizzoni and La Risonanza are here reduced to just five musicians, and play with their customary panache.


I am under no illusions that between the recent release of Le Carnaval de Venise (Glossa 921622) and this we’re undergoing a Campra revival. But with two stylish offerings of his operatic music in print—even if one of them is a pastiche—there’s enough to glimpse the pleasures of this composer’s music. Hopefully, we won’t have wait very long before another Campra album of similar quality appears.


FANFARE: Barry Brenesal
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Works on This Recording

1. Simphonia no 2 "La Félicité" by Louis-Nicolas Clérambault
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
Period: Baroque 
2. Ah, che d’amor la gioia by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
3. D’un geloso core: D’amorosi mirti by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
4. Amanti godete by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
5. Alle vaghe lusinghe by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
6. All’incanto d’un bel riso by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
7. Simphonia no 5 "Chaconne" by Louis-Nicolas Clérambault
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
Period: Baroque 
8. Adorata Leonora by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
9. Come, come dar fede by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
10. La farfalla intorno ai fiori by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
11. Idolo mio, t’arresta by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
12. Pargoletti faretrati by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
13. Idolo mio, già l’alma by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
14. Vezzosette care pupillete by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
15. Vuo’ vendetta by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
16. Ma, Leonora, che pensi? by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
17. Lungi da me martiri by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
18. Ma ecco, che la quiete by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
19. Luci belle by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
20. Ecco che già il riposo by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
21. Amor diletto by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
22. La mia amata Leonora by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
23. Bell’idolo d’amore by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
24. Molesto mi è Il Dottore by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
25. Amor te’l giuro affé by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
26. L’unico ben by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
27. Non si puo’ vede by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
28. Si scherzi si rida by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
29. Se l’amata Leonora by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
30. Ch’io viva senza te by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
31. Contre-danse by André Campra
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza
32. Tutti lieti festeggiate by André Campra
Performer:  Roberta Invernizzi (Soprano)
Conductor:  Fabio Bonizzoni
Orchestra/Ensemble:  La Risonanza

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