The image of the imprisoned bird is often use as an allegory for the voice trapped in the castrato singer. Here the word-painting adds a special, flute-like quality to the music. A wide range for the full alto voice.  Irene is causing trouble again!

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‘Even the shades burning in Pluto’s fires do not suffer as much as I…’ Irene is being cruel again and our erstwhile lover is suffering. RARA form Canzona from a manuscript in the Biblioteca del Conservatorio di musica S. Pietro a Majella – Napoli: Cantate 236(43)

Editor: James Sanderson

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This is taking the sacrifice for love just a little too far… Despite Irene’s nastiness, her coldness, her viciousness her lover still wants to die just for her. RARA format with a stunning first aria and challenging last, this is one of the Venetian priest’s excellent miniatures. Source: Naples

Editor: James Sanderson

The post Bigaglia: Ecco perfida Irene appeared first on Cantata Editions.

Source: BL Add MS 14210 ff142v – 149r

A lovely cantata with a somewhat ‘early’ feeling to it. The recitative structure is as complicated as ever, but the arias are a little simpler than the later works. The story revolves around the attraction of bees to roses, in this case the rose is Irene and the bee is her erstwhile lover.<br>
Range: e – f#’

Editor: James Sanderson

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Source: BL Add MS 14210 ff 96v – 103r (only source)<br>
Irene’s lover is showing great self restraint and, possibly, an inability to see what is actually happening with his beautiful girlfriend! 2 recits and 2 arias (lovely sighing larghetto and a twisting allegro).<br>
Range: e – g#’

Editor: James Sanderson

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Source: Source: BL Add 14,214 ff 64v – 70v (only source)<br>
Remarkable piece in aria – recit – aria format, text (possibly by Metastasio) dealing with how much the lover is prepared to give up for his beloved Irene. The writing is sinuous and very chromatic.<br>
Range: d’ – f”

Editor: James Sanderson

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Cantata Op. 1, no. 8<br>
Source: British Library copy of the 1735 edition.<br>
Text by Metastasio, this time concerning a young man and what appears to be a wavering love for Clizia AND Irene!

Editor: James Sanderson

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“Irene is so beautiful when she wears white – it reminds me of the colour of my devotion to her.” A delicious work for low soprano (or high counter tenor) and violins, in Scarlatti’s later Neapolitan galant style. Transparent textures and buoyant melodic lines are the colour of this sparkling work.

Vocal range: c’ – f#”.

Editor: Rosalind Halton

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Despite appalling treatment, Irene’s lover remains constant and wants more (remind you of anyone?) Complex recits and some exciting chromatic harmonies in the arias. RARA format.

Source: Münster Santini HS 859 (11)

Range: d – e’

Editor: James Sanderson

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"Go, oh my sighs, to Irene’s heart, May it know of my pains by you…" An intensely chromatic work with two versions of the final aria. In most sources dated 10 March, 1712 and was composed in response to a cantata by Francesco Gasparini based on the same text. The second version of the final aria aria here is from a later version with the subtitle: con idea inumana, in regolato cromatico, ma non è per ogni professore – the final aria itself is inscribed with the words: Altr’aria capriccio dell’ Autore

Range: d – g’

Editor: Kate Eckersley & James Sanderson

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