Rich Baroque in Music and Vision 18 November

Rich Baroque 'La Liberazione di Ruggiero dall'Isola di Alcina' by the almost forgotten Francesca Caccini, heard by GIUSEPPE PENNISI According to legends and hearsay, until very modern times, ladies were subdued and kept away from the arts and professions. However, during the Italian Renaissance, women had important roles in politics (eg Lucrezia Borgia), visual arts (eg Barbara Longhi) and even in music. On 10 November 2016, RomaBarocca Ensemble, created some twenty years ago by Lorenzo Tozzi (see Praise and Attention, 4 September 2010), presented one of these now forgotten musicians : Francesca Caccini nè Signorini Malaspina, proposing Caccini's La Liberazione di Ruggiero dall'Isola di Alcina in the astonishing Oratorio del Gonfalone, a real gem of baroque architecture in the old area of downtown Rome. Over the last twenty years, RomaBarocca Ensemble has gone a long way towards the rediscovery of Rome's rich baroque compositions. Often considered less important than Neapolitan or Venetian baroque, the Rome baroque school was the main inspirer and trainer of European composers such as Händel. Now, the Ensemble is exploring other aspects of the baroque in Central Italy. RomaBarocca Ensemble in Rome's Oratorio Gonfalone on 10 November 2016. Photo © 2016 Francesco Ferruzzi. Click on the image for higher resolution The now almost forgotten Francesca Caccini lived between Florence and Lucca and was one of the main composers at the Medici Court; she was also a poet and had important roles in the running of the Medici Grand-Duchy. Only two scores from her vast production have reached our times: Il primo libro delle musiche a una o due voci and La Liberazione di Ruggero dall'Isola di Alcina. This is conceived as a 'musical feast' such as Purcell's The Fairy Queen for a special occasion: the visit to Florence of the Prince of Poland and Sweden. It was staged in of the of the best known villas near Florence: Poggio Imperiale, on 3 February 1625. Records show that it was also performed in Cracow in 1628. As a 'musical feast', it entailed ballet, equestrian games and, in the final part, also a dance of horse-riding knights. Like Dryden and Purcell's King Arthur, revived in Italy a couple of years ago ('A Thin Connection', 28 September 2014), it could not be presented in its original form, which would have lasted several hours and required a huge budget. RomaBarocca Ensemble had to opt for a concert presentation with a good number of cuts also to contain it within almost two hours of performance. It was a high class presentation that will become a CD in the Spring and deserves to be heard in other places than Rome. There is not 'a thin connection' with the original, because almost the entire musical score was played (whereas in King Arthur only a very small part was presented). It may suit British baroque festivals quite well. Members of RomaBarocca Ensemble performing Francesca Caccini in Rome's Oratorio Gonfalone. Photo © 2016 Francesco Ferruzzi. Click on the image for higher resolution From a musical viewpoint, it is quite an interesting discovery: Florentine baroque has a terse clear style, largely based on Camerata de' Bardi's recitar cantando, where each word of the libretto (by Ferdinando Saracinelli) can be understood and appreciated whilst the purely orchestral parts — symphonies, intermezzo, dances and battles — provide richness and the color of a period, Italian Renaissance, then in full splendor but heading towards its sunset. Thus, next to recitar cantando, there are the passion between Ruggiero and Alcina, the enchanted island atmosphere, Astolfo's courage and the awakening of the knights transformed by Alcina into plants. Riccardo Primitivo as Ruggero and Alessandra Borin as Alcina, with other members of RomaBarocca Ensemble performing Francesca Caccini's 'La Liberazione di Ruggiero dall'Isola di Alcina'. Photo © 2016 Francesco Ferruzzi. Click on the image for higher resolution Under the direction of Lorenzo Tozzi, RomaBarocca Ensemble provided a marvelous reading of the score with period instruments or with instruments modeled on those of the Renaissance. The singers were very good, especially Riccardo Primitivo (as both Neptune and Ruggero), Alessandra Borin (as Alcina) and Marcella Forana (as Melissa). The audience was highly pleased. Copyright © 18 November 2016 Giuseppe Pennisi, Rome, Italy ROME ITALY BAROQUE MUSIC  << M&V home       Concert reviews        Aida >>