Récital Jakub Józef Orliński : Beyond

PROGRAMME

Claudio Monteverdi (1567-1643)
L'Incoronazione di Poppea : « E pur io torno » (Ottone)
Voglio di vita uscir

Biagio Marini (1594-1663)
Per ogni sorte di strumento musicale op. 22 – Passacalio

Giulio Caccini (1551-1618)
Le nuove musiche : « Amarilli, mia bella »

Girolamo Frescobaldi (1583-1643)
Arie musicali, livre I : « Così mi disprezzate »

Johann Caspar Kerll (1627-1693)
Sonate pour deux violons en fa majeur

Barbara Strozzi (1619-1677)
Cantate, ariette e duetti op.2 : « L'Amante consolato »

Francesco Cavalli (1602-1676)
Pompeo Magno : « Incomprensibil nume » (Pompeo)

Carlo Pallavicino (1630-1688)
Demetrio, Sinfonia

Giovanni Cesare Netti (1649-1686)
La Filli : « Misero core...Si,si,si scioglia si...Dolcissime catene » (Berillo)

Antonio Sartorio (1630-1680)
Antonino e Pompeianio : « La certezza di sua fede » (Pompeo)

Giovanni Cesare Netti (1649-1686)
L'Adamiro TN V.1b : « Quanto più la donna invecchia » (Crinalba)
L'Adamiro TN V.1b : « Son vecchia, patienza » (Crinalba)

Adam Jarzębski (1590-1648)
Canzoni e concerti – Tamburetta

Sebastiano Moratelli (1640-1706)
La Faretra smarrita : « Lungi dai nostri cor » (Amore)

It can never be said enough: 17th-century Italy, the famous Seicento, is a golden age of music, especially vocal. Never before or since have music and poetry found such a miraculous balance: the great expressive recitative and the melodic beauty fuse into a prodigious art form, while erudite music and popular vitality come together in glittering scores. This is the era of the most bountiful operas in history, with their inexpressible lamenti, as well as the wildest chaconnes, passacaglias and tarentellas.

Surrounded by his faithful fellow virtuosi of Il Pomo d’Oro, Jakub Józef Orliński draws on these infinite treasures to offer a true “spectacle”, in which the constant succession of musical numbers evokes the multiple facets of love, from the most unspeakable suffering to the most radiant joy, not forgetting the irresistible comic touch that composers of the time gladly included in their most dramatic works. Some of the composers are well known: Claudio Monteverdi, of course (with extracts of L’incoronazione di Poppea), as well as his most famous predecessor, Giulio Caccini, or his greatest disciple, Francesco Cavalli (magnificent passages of Pompeo Magno). But, true to form, the Polish counter-tenor is also keen that we discover other scandalously overlooked geniuses. These include Giovanni Cesare Netti, Carlo Francesco Pollarolo and Sebastiano Moratelli, not forgetting Antonio Vitali, whose Chaconne is immensely popular today, while the rest of his production remains unfairly obscure: the cantata Donde avivent te tutti’Ebro di Vera gioia, written for the coronation of Maria Beatrice d’Este as queen of England, is a veritable masterpiece boasting an exuberant vocality. We are in no doubt that this sumptuous programme will be more than matched by the quality of its performance.