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Formats and Editions
1. Lotti: Giove in Argo Act II Con fiamme, e con straggi (Iside)
2. Caldara: Temistocle Act I, Scene 6 Chi mai d'iniqua stella (Aspasia)
3. Vivaldi: Atenaide, RV 702 Act III, Scene 7 Qual demone, qual furia (Eudossa)
4. Vivaldi: La Silvia, RV 734 Act I, Scene 14 Mio cor, s'io ti credessi (Nerina)
5. Marcello: Arianna Parte seconda. Scene 2 Come mai puoi vedermi piangere (Arianna)
6. Vivaldi: Violin Concerto in A Minor, Op. 4 No. 4, RV 357 I. Allegro
7. Vivaldi: Violin Concerto in A Minor, Op. 4 No. 4, RV 357 II. Grave
8. Vivaldi: Violin Concerto in A Minor, Op. 4 No. 4, RV 357 III. Allegro
9. Vivaldi: Ottone in Villa, RV 729 Act II, Scene 3 L'ombre, l'aure, e ancora il rio (Caio)
10. Gasparini: Bajazet Act I, Scene 15 Vendetta sì, farò (Asteria)
11. Gasparini: Ambleto Act II Sì, ti sente l'alma mia (Ildegarde)
12. Albinoni: Andromeda liberata Parte prima Si, rinforzi in te la spene (Cassiope)
13. Porta: Ifigenia in Aulide Act III, Scene 13 Madre diletta, abbracciami (Ifigenia)
14. Vivaldi: Zeffiretti, che sussurrate, RV 74
15. Track 15
16. Caldara: Caio Marzio Coriolano Act III, Scene 7 Per combatter con lo sdegno (Claudia)
More Info:
Eighteenth-century Venice was the epitome of splendor: architectural, pictorial, theatrical, musical and vocal. Venetian opera shone throughout Europe, combining dramatic force with the beauty of the vocal line. Like Canaletto and Guardi, who painted all the sides of the Serenissima in their panoramas, composers sought to explore the spectrum of human passions through opera. Sophie Junker invites us to meet them, alongside Martyna Pastuszka, conductor of the {oh!} Orkiestra. Her brilliant, acrobatic soprano blossoms in arias of fury and vengeance (Vivaldi or Lotti), or in the heart-rending complaints of an Iphigenia (Porta) or an Ariadne (Marcello). Martyna Pastuszka's violin leads one of the splendid 'La Stravaganza' (the extraordinary) concertos: a fine subtitle for this program.
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