LindoroRossini's video: Baroque mementos Giovanni Bononcini La nemica d Amore fatta amante 1693 Pur ti riveggio

≈ Painting ≈ "A bather" by William-Adolphe Bouguereau. ≈ History ≈ ~ based on materials from the Grove Dictionary & Opera Today ~ Giovanni Bononcini (1670-1747) is yet another Baroque composer whose name, once as well-known as that of Handel, still remains obscure to the modern audience (1). Orphaned at the age of 8, the boy promptly moved to Bologna where his talents enabled him to enter into the Philharmonic Academy in 1686. Thereinafter, Bononcini gradually established a strong reputation by writing just in the 1690s more than 200 cantatas, 6 serenatas and 4 operas, including what is noted at times as the most successful musical drama of the period - "Il trionfo di Camilla" (1696). The composer's fame took him to all the major musical capitals of Europe, and when Bononcini arrived to London in October 1720, it was he, not Handel, who for two seasons attracted the most warm reception from the English audiences: five of his works accounted for 82 of the 120 performances given by the Royal Academy of Music during that time (2). However, the Saxon's growing influence and, ultimately, a copyright conflict (3) saw Bononcini steadily fall out of favor in Europe. In the present case, we approach one of his first large-scale works: in August 1693 Bononcini, then in the middle of his Roman sojourn, wrote with his librettist Stampiglia what is effectively a sequel to the composer's 1692 serenata "La nemica d'Amore", also written for Rime. (1): "Per la gloria d'adorarvi" notwithstanding. (2): A popular epigram by Byrom likened the composers, suggested to have been involved in a direct rivalry with each other, to Tweedle-dum and Tweedle-dee. (3): In 1727-28 an unsigned manuscript of "In una siepe ombrosa" was introduced at a meeting of the Academy of Ancient Music. Bononcini apparently claimed to be the composer of this madrigal until, at the meeting in January 1731, Bernard Gates directed a performance of the same work drawn from Lotti's "Duetti, terzetti e madrigali". The academy's directors seemingly made a great noise about it. ≈ Narrative ≈ Ironically adapted by Handel for the 1707 comic cantata "Clori, Tirsi e Fileno", the plot of Bononcini's serenata is a familiar tale of pastoral love: the nymph Clori (soprano) continually repels the sincere feelings of the shepherd Tirsi (countertenor), proclaiming herself to be an "enemy of love" on the prompting of the satyr Fileno (baritone) who is himself enamored with her. This is effectively the narrative of both the 1692 and 1707 serenatas. However, the 1693 drama presents a strikingly realistic inner struggle of Clori with the realization of her own love for Tirsi. After Fileno's scheme is revealed, and Clori dismisses him, the lovers prepare for a happy life together. ≈ Music ≈ Historian John Hawkins, a contemporary of Bononcini, found that "[his] genius was adapted to the expression of tender and pathetic sentiments". Indeed, the pastoral setting of the serenata in question is captured most elegantly in a series of brief but immediately appealing numbers. While Clori, allotted 7 full arias, is the center of attention, Tirsi is blessed with a charming andante aria just before the closing of work. Its elegiac atmosphere might suggest otherwise but the presented piece is not an actual lament but an intimate affirmation of love, as Tirsi quietly expresses his happiness in a perfectly serene sarabande. The A section of the aria is constructed around two extended melodic sequences. The yearning first theme is immediately established by an obbligato cello in a cantabile ritornello which is then repeated by Tirsi (0:30) with slight decorative alterations (0:41). The sighing second theme follows without interruption, effectively resolving the melody (0:51). A sustained note from Tirsi, heard over a complete repetition of the first theme by the cello (1:10), returns us once more to the second theme (1:30), while the A section is resolved by a recapitulation of the opening prelude (1:44). The B section, slightly warmer in tone, is of lesser emotional immediacy (2:06), serving as a simple contrast to the succeeding da capo (3:01). Comparisons with similarly conceived arias by Handel (the dark "Voi che udite") and Vivaldi (the graceful "Sol da te") help underline the most notable characteristic of Bononcini's art: an ability to establish through artistic means a tableau of rustic simplicity and unaffected freshness. ≈ Score ≈ There is no set of sheet music currently available in open access. ≈ Recording ≈ The 2002 Zig-Zag Territoires recording is expertly produced and boasts a winning orchestra in Ensemble 415 (notably, we are treated to the generous playing of Gaetano Nasillo on solo cello) lead by Chiara Banchini, as well as a vocal cast of well-established Baroque specialists. Clori ~ Adriana Fernandez Tirsi ~ Martin Oro Fileno ~ Furio Zanasi Hope you'll enjoy =).