An enormous and complex work for soprano and continuo telling through her own voice the fate of Cleopatra after being betrayed and deserted by Rome. Poison, asps, vengeance, fury, it has everything. In 24(!) parts, some as short as 2 bars, Colonna has created a scene of operatic drama and intensity. The poetry is by Sigr D Donato Copeda

Source: BL Add MS 27931 (large quarto with the Medici coat of arms)

Range: c – b flat”

Editor: James Sanderson

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Each line written in blood is examined here in the response to ‘Tinte à note di sangue’ and found wanting. Lies, damn lies! ‘Would I could hear from those lips: Peace, peace my dearest. Instead, in fire and anger I can only respond in my rage: WIcked liar, liar and terrible’. Fiery and exciting writing in RARA format cantata. From a manuscript in the collection of the Biblioteca del Conservatorio di Musica S Pietro a Majella, Naples.
Editor: James Sanderson

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"If you do not cry at my tears…" Continuing with the sad cantata themes, this is a lovely work in ARARA format by the Neapolitan master Francesco Mancini. Pathos and not a little fire are on offer with some truly twisted recitatives in our lover’s reaction to Lilla’s heartlessness! <br>
Sources: Biblioteca del Conservatorio di musica S. Pietro a Majella – Napoli: Cantate 22 (30) and 181 (33).

Editor: James Sanderson

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Elisa is clearly unhappy in love and asks the silver brook to join her in her sorrows. Well, that’s the first half! By the second recit-aria pair of the cantata she has worked herself up into quite a state and is crying ‘Perfidy’, and ‘Treacherous…let us speak of love no more…I am your sworn enemy…’ The first aria is a languid Larghetto, the second a fiery Allegro.

Source: Naples Conservatorio Library.

Editor: James Sanderson

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Source: BL Add 14214 ff 170v – 177v (only source)

In recit – aria – recit – aria form with some interesting recitative-like passages in the b section of the second aria. As usual the setting of the recitatives is particularly clearly defined. The text is in the first person, a shepherdess railing against the unfaithful Tirsi.<br>
Range: b – a”

Editor: James Sanderson

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Source: BL MS Add 14214

This is an extremey enchanting cantata in aria-recit-aria form. The poor boy is totally in love but the beloved is having none of it. Retribution and hatred are the only alternatives. The opening matter of fact aria leads to an extraordinary recitative and final minuet.

Range: d – g'<br>
Editor: James Sanderson

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Source: Act II, viii or Tamerlano.
Andronico’s rage aria at the end of Act II.
It’s a good one!

Editor: James Sanderson

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Mitilde dies and with her dies the flame of Love. A challenging and fascinating example in RARA format, the recitatives travelling through widely disparate tonalities and the contrasting arias, one a stunning Adagio and one a classic cut-common rage against the tyrant, have very clearly defined characters and great musical values.

The source is a manuscript in the Naples collections.
Editor: James Sanderson

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Our lover’s anger is directed towards his beloved this time: "Ungrateful tyrant! I will never be free of this suffering before I die". In ARA format, each aria with its own distinct style and very singable melodies. Some very interesting accompanying writing as well!

Range: A – d

Editor: James Sanderson

The post A Scarlatti: Tiranna ingrata appeared first on Cantata Editions.

An unhappy Clori this time – not the cause of someone else’s woes. Flora, fragrant Flora, has stolen her man and Clori is not happy “Flora, one day you’ll see, one day you will be punished for your vanity”. RARA format with two excellent, complex and beautiful arias.

Editor: James Sanderson

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