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!

The post Pistocchi: Tortorella imprigionate appeared first on Cantata Editions.

As a dove searching for its mate, the lover cries for his beloved in this beautiful example of the genre. In ARA format with some great bird calls.
Source: Münster Santini 3313 (5)
Range: e – g’

Editor: James Sanderson

The post Porpora: Sento una tortorella appeared first on Cantata Editions.

Source BL MS Add 14225

A charming pastoral cantata with a text advising Shepherds to stay away from beautiful shepherdesses! The last aria has a written out upper part for the continuo, possibly to be played on a violin or flute.

Editor: James Sanderson

The post Porpora: Ò Pastori io v’avviso appeared first on Cantata Editions.

Source BL MS Add 14214

The tale of love, Cupid’s darts and a nightingale!<br>
The chromaticism of the recit and second aria are something to be believed, as is the simplicity of the bird song alluded to in the first aria.

Editor: James Sanderson

The post Porpora: Mentre canta l’augelletto appeared first on Cantata Editions.

Charting the progress of the Swallow (Rondinella) from the Arno to the Tebro at the end of the Summer’s heat, with some beautiful word painting (including fluting bird-song) and some quite stunning recitative – AS at his best in another of the 1704 cantatas. In ARARA format, starting with a gentle Siciliano, an Allegro in cut common time is the middle aria and the final aria is a lively 3/8.

Source: Münster Santini Sammlung 3907

Range: d – g’

Editor: James Sanderson

The post A Scarlatti: Non lasciar canora e bella appeared first on Cantata Editions.

[ca.1709] – one source only extant. <br>
Theme of the bird seeking freedom/ the lover freedom from love. Virtuoso aria 1, final siciliano very beautiful.

Range: d’-g”. A major/D major.

Editor: Rosalind Halton

The post A Scarlatti: Libertà del mio cor appeared first on Cantata Editions.

Our litte turtle-dove is caged and kept away from his beloved again in this charming cantata and once again death is preferable to this continued condition of estrangement from the beloved! In ARA format.

Source: Münster Santini Sammlung HS 861

Range: e flat – g’

Editor: James Sanderson

The post A Scarlatti: Scompagnata tortorella appeared first on Cantata Editions.

Source: Santini Sammlung, Diözesan Library, Münster: Hs. 3975, ff. 35-59v

The image of the caged bird appears frequently in vocal music of the Italian baroque – maybe a poignant image to the many castrati whose voice was itself the cage within which life was lived. In cantatas such as ‘Augellin’, the bird functions as symbol of the lover imprisoned by the pain of love unreturned. 3 arias and two recits.

Editor: Rosalind Halton

The post A Scarlatti: Augellin vago e canoro appeared first on Cantata Editions.

Here our lover tells the nightingale to be silent and simply moan at the sadness he feels. Beautiful music with a depressing subject. Dorinda, it seems, is playing hard to get and our protagonist is lamenting the fact. Very much an alto cantata (going down to a bottom G) this is a fine example of the simpler ARA format with some delightful word-painting in both arias and recitative.

Source: Naples Conservatorio.

Editor: James Sanderson

The post Bononcini: Usignuol che col mio pianto appeared first on Cantata Editions.

A classic bird-song cantata with some lovely touches. Our turtle-dove fears only the loss of his beloved.

Source: Naples Conservatorio

Editor: James Sanderson

The post A Bononcini: Tortorella innamorata appeared first on Cantata Editions.