Full of stabbing pain and dissonance, it serves as a reminder that Giacomelli still remains undeservedly neglected. It is an aria for Irene, the woman abandoned by her fiancée Tamerlano for Asteria, the daughter of the imprisoned Bajazet, who he has conquered in battle. One of the most remarkable to my mind is ‘Sposa son disprezzata’ (As a bride I am despised), taken from Giacomelli’s Merope (Venice, 1734). They are all identified in the booklet, though it’s quite fun to listen first and see how many one can identify as not being by Vivaldi. Of the now lost Adelaide, we know nothing beyond the fact its libretto is most likely by Antonio Salvi (a text set by Handel as Lotario in 1729), while Il Tamerlano is a pasticcio assembled by Vivaldi from previously composed operas of his own and those of Giacomelli (3 arias), Hasse (3) and Riccardo Broschi, Farinelli’s brother, two of whose arias were incorporated. Il Tamerlano is one of Vivaldi’s later operas composed not for Venice but the historic Accademia Filharmonica of Verona, whose appointment of Vivaldi as impresario for the 1735 Carnival season resulted in two operas, Adelaide and Il Tamerlano, both probably premiered in January. Volume 65 of naïve’s remarkable Vivaldi integralebrings us one of the last of the complete opera’s still to be recorded. Bruno Taddia Bajazet, Filippo Mineccia Tamerlano, Delphine Galou Asteria, Sophie Ennert Irene, Marina De Liso Andronico, Arianna Vendittelli Idaspe, Accademia Bizantina, Ottavio DantoneĬlick HERE to buy this recording on .uk
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