Bendetto Marcello: Arianna [Box set]

Editorial Reviews
Amazon.com
In his satirical introduction to The Beggars' Opera of 1728, John Gay claims that he "introduced the similes that are in your celebrated operas: the Swallow, the Moth, the Bee, the Ship, the Flower...and I have observed such nice impartiality to our two ladies that it is impossible for either of them to take offence." He might equally well have been referring to Marcello's charming Arianna (1726), which does indeed employ the usual Metastasian similes in the arias, and has two plum female roles for Arianna and her sister, Fedra (Phaedra). But--as with many things--it ain't what you do, it's the way you do it, and Arianna rings the changes in highly enjoyable ways. The plot brings Teseo (Theseus) and Arianna back together to fight over his betrayal, for example, and even by the end, no one has left Naxos. Some of the music is formulaic (especially the "trumpets and drums" choruses), but much of it is beautiful, and one aria ("Come mai puoi vedermi piàngere?") is absolutely ravishing. The performers all have young, fresh voices, and though the recitatives are a little underpowered dramatically, the arias carry the energy of the piece. --Warwick Thompson

Tracks:

Sinfonia: Presto -
Sinfonia: Largo -
Sinfonia: Presto
Scene 1: Chorus
Scene 1: Recitative
Scene 1: Aria
Scene 2: Recitative
Scene 2: Aria
Scene 3: Recitative
Scene 3: Chorus
Scenes 4 and 5: Recitative
Scenes 4 and 5: Aria
Scenes 4 and 5: Accompanied recitative:
Scenes 4 and 5: Aria
Scene 6: Recitative
Scene 7: Recitative
Scene 7: Aria
Scene 8: Recitative
Scene 8: Aria

Tracks:

Scene 9: Recitative
Scene 9: Aria
Scene 10: Recitative
Scene 11: Recitative
Scene 11: Aria
Scene 12: Recitative Recitative
Scene 12: Aria
Scene 12: Recitative
Scene 12: Aria
Scene 12: Recitative
Scene 12: Chorus
Part Two, Scene 1: Recitative
Scene 1: Aria
Scene 2: Recitative
Scene 2: Aria
Scene 3: Recitative
Scene 3: Aria
Scene 4: Recitative
Scene 4: Aria

Tracks:

Scene 5: Recitative
Scene 5: Aria
Scene 6: Recitative
Scene 6: Aria
Scene 7: Recitative
Scene 8: Chorus
Scene 8: Recitative
Scene 8: Aria
Scene 9: Recitative
Scene 9: Aria
Scene 10: Recitative
Scene 10: Aria
Scene 10: Recitative
Scene 10: Duet
Scene 10: Chorus
Scene 10: Accompanied recitative
Scene 10: Chorus

Amazon.com

In his satirical introduction to The Beggars' Opera of 1728, John Gay claims that he "introduced the similes that are in your celebrated operas: the Swallow, the Moth, the Bee, the Ship, the Flower...and I have observed such nice impartiality to our two ladies that it is impossible for either of them to take offence." He might equally well have been referring to Marcello's charming Arianna (1726), which does indeed employ the usual Metastasian similes in the arias, and has two plum female roles for Arianna and her sister, Fedra (Phaedra). But--as with many things--it ain't what you do, it's the way you do it, and Arianna rings the changes in highly enjoyable ways. The plot brings Teseo (Theseus) and Arianna back together to fight over his betrayal, for example, and even by the end, no one has left Naxos. Some of the music is formulaic (especially the "trumpets and drums" choruses), but much of it is beautiful, and one aria ("Come mai puoi vedermi piàngere?") is absolutely ravishing. The performers all have young, fresh voices, and though the recitatives are a little underpowered dramatically, the arias carry the energy of the piece. --Warwick Thompson

Customer Reviews:

An unexpected delight!.......2006-05-21

The intimate cast - (this "play for music" is for five voices only) - gives this work a sense of cohesion and warmth beautifully embellished by the fine arias and nicely worked recitatives. Like most operas of this period (early 1700s), "Arianna" does not include many ensemble pieces. There is only one duet and the occasional chorus - the majority of the work consists of one glorious aria following another. It's anything but boring, however. The music is very fine indeed, and this performance is lovely.

Of the performers, only Gloria Banditelli is likely to be previously known to listeners. The standard is, however, uniformly high. I enjoyed this recording immensely.

It's a world premiere recording - it always gives me a feeling of especial excitement when I hear something that has been recorded for the first time and left unperformed for centuries. It's like unearthing a great treasure.

The instrumental playing is also delightful - Academia de li Musici do a wonderful job of imparting a charming sense of liveliness and quite lovely lyricism with the music.

Highly recommended.

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