Arias for Anna Renzi: The First Opera Diva | Brilliant Classics 96716

Arias for Anna Renzi: The First Opera Diva

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Label: Brilliant Classics

Cat No: 96716

Format: CD

Number of Discs: 1

Genre: Vocal/Choral

Release Date: 18th November 2022

Contents

Artists

Roberta Invernizzi (soprano)
Ensemble Sezione Aurea

Conductor

Filippo Pantieri

Works

Ceresini, Giovanni

Simulacro d'amor

Cesti, Antonio

L'Argia
» Ecco l'alba che ridente
» S'un guardo mi vines
» Sinfonia

Cima, Giovanni Paolo

Sonata a 2: violino e violone

Frescobaldi, Girolamo

Canzon prima a basso solo, F8.06c

Laurenzi, Filiberto

La finta savia
» Per far nascere un chirone
» Spero, aspetto e non viene
» Stolta melanto ignuda
O cara liberta

Monteverdi, Claudio

L'incoronazione di Poppea (The Coronation of Poppea)
» Disprezzata regina

Rossi, Luigi

Passacaille del Seigr. Louigi

Artists

Roberta Invernizzi (soprano)
Ensemble Sezione Aurea

Conductor

Filippo Pantieri

About

A homage from one superb Italian soprano to her forebear, the first ‘opera diva’.

As the most celebrated singer in Venice during the 1640s, Anna Renzi created roles in operas by the great dramatists of the day including Ottavia in L’incoronazione di Poppea. As outlined by the booklet’s detailed essay on Renzi’s life and career, her career was not very long but dazzling. It centred round the many Venetian theatres and prestigious tours that took her to Florence, Genoa and Innsbruck: from 1640, when she made her debut in Rome, her home city, in an opera written by her alleged teacher Filiberto Laurenzi staged at the French embassy in Palazzo Pallavicini-Rospigliosi, to 1657 in Le fortune di Rodope e Damira, set to music by Pietro Andrea Ziani, at Teatro Sant’Aponal in Venice.

Roberta Invernizzi begins her recital with ‘Disprezzata regina’ from L’incoronazione di Poppea and follows it with two arias from Cesti’s lesser-known L’Argia of 1655, hardly less dazzling in the brilliance of its vocal line. O cara libertà is a stand-alone aria from a collection by a composer two generations after Monteverdi, Filiberto Laurenzi (1618-after 1651), and Invernizzi ends the album on a high with three arias from his little-known drama La finta savia.

Between the vocal selections, Ensemble Sezione Aurea insert instrumental interludes by Venetian contemporaries such as Rossi, Cima and Frescobaldi. The album as a whole adds up to a compelling portrait of Renzi, demonstrating her particular gift for bringing characters to vivid life on stage, and also a showcase for the vocal and dramatic talents of Roberta Invernizzi, who has taken lead roles in early operas under early-music luminaries including Alan Curtis, Rinaldo Alessandrini and Nikolaus Harnoncourt. The booklet also includes full sung texts and English translations.

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