Cavalli: L’amore innamorato

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Cavalli: L’amore innamorato



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Release date:

23rd Oct 2015




66 minutes


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Cavalli: L’amore innamorato


L'Armonia (L'Ormindo)

Sinfonia (from Il Giasone)

Piante ombrose (from La Calisto)

Restino imbalsamate (from La Calisto)

Vieni, vieni in questo seno (from La Rosinda)

Verginella io morir vo (from La Calisto)

Ninfa bella (from La Calisto)

Non è maggior piacere (from La Calisto)

Dammi morte (from La Calisto)

Sinfonia (from L'Eliogabalo)

Affliggetemi, guai dolenti (from L'Artemisia)

Che città (from L'Ormindo)

Alle ruine del mio regno, Lamento d’Ecuba e Cassandra

L'alma fiacca svanì (from La Didone)


La suave melodia


Toccata prima (from Libro Quarto d'Intavolatura di Chitarone, Roma 1640)



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With L’Amore innamorato – ‘Love in love’ – Christina Pluhar and L’Arpeggiata return to their own first great love, Italian music of the 17th century, and specifically to composer Francesco Cavalli (1602-1676).

A luminary of the glamorous and innovative world of Venetian opera, Cavalli was a protégé of Claudio Monteverdi – the composer around whom L’Arpeggiata built Il teatro d’amore, the ensemble’s first Warner Classics album, which was released in early 2009. “Cavalli’s music excites my passions”, says Christina Pluhar. He composed some 40 operas, some of which have achieved new currency since the 1960s, such as La Calisto, Il Giasone, L’Egisto and L’Ormindo and La Didone. Arias and instrumental numbers from six of his operas feature in L’Amore innamorato. The instrumentalists of L’Arpeggiata are joined for the album – which also includes pieces by two of Cavalli’s contemporaries, Girolamo Kapsperger and Andrea Falconieri – by two sopranos, the Catalan Núria Rial and the Czech Hana Blažíková.

While L’Arpeggiata’s recent Warner Classics CDs – Music for a While, Mediterraneo, Los Pájaros perdidos and Via Crucis – have explored fusions of cultures and musical styles, L’Amore innamorato adheres to the conventions of historically informed performance of Baroque music. The members of the ensemble use stringed, keyboard, wind and percussion instruments to flesh out Cavalli’s score, which comprises only a vocal line, basso continuo and indications for the ritornello (a recurring instrumental section). As Christina Pluhar points out, the line-up of instruments is unusually lavish: she herself performs on theorbo and harp and is joined by the other players who create a sumptuous soundworld, accompanying arias for goddesses and nymphs with a fascinating array of instruments: cornetto, violin, archlute, guitar, harp, psaltery, viola da gamba, lirone, cello, violone, double bass, organ, harpsichord and percussion.

In April 2015, after L’Arpeggiata performed L’Amore innamorato at Carnegie Hall, The New York Times wrote:

“In some ways, L’Arpeggiata represents the state of the art in early-music practice … The most compelling performers today have come to realize how much was left unsaid by composers in scores prepared on the run for use by performing colleagues who were, if not immediately at hand, at least immersed in the style of the period and locale. These performers see conjecture not as a worrisome chore but as an opportunity; improvisation as a matter of course; invention as a necessity.

L’Arpeggiata showed those traits in abundance in a delightful program on Tuesday, L’Amore innamorato: Arias by Francesco Cavalli … Núria Rial, a splendid Spanish soprano, sang numbers from operas including Calisto, Didone and Ormindo beautifully, and the ensemble filled out the 75-minute program with instrumental ditties by Cavalli and others.

The selections tended toward works with variations above repeating bass figures, which come as catnip to these players, inviting, as they do, the extemporization of new variations. Such forms are widespread in the Italian Baroque literature.

Cavalli’s operas have been gaining fitful exposure in recent years … Still, his music is not well known, and it was good to hear these delicious samples in something like their original form. Christina Pluhar, L’Arpeggiata’s artistic director, played theorbo throughout, giving a wonderful, firm basis to the sound.”

Francesco Cavalli: Cavalli / Arr Pluhar: L'Ormindo: L'Armonia (Prologo)

Cavalli / Arr Pluhar: L'Ormindo: L'Armonia (Prologo)

Francesco Cavalli: Il Giasone: Sinfonia

Il Giasone: Sinfonia

Francesco Cavalli: Cavalli / Arr Pluhar

La Calisto, Act 1: "Piante ombrose"

La Calisto, Act 3: "Restino imbalsamate"

Francesco Cavalli: La Rosinda, Act 3: "Vieni, vieni in questo seno"

La Rosinda, Act 3: "Vieni, vieni in questo seno"

Francesco Cavalli: Cavalli / Arr Pluhar

La Calisto, Act 1: "Verginella io morir vo'"

La Calisto, Act 1: "Ninfa bella"

La Calisto, Act 1: "Non è maggior piacere"

L'Artemisia, Act 3: "Dammi morte"

Francesco Cavalli: L'Eliogabalo: Sinfonia

L'Eliogabalo: Sinfonia

Francesco Cavalli: Cavalli / Arr Pluhar: L'Artemisia, Act 2: "Affliggetemi, guai dolenti"

Cavalli / Arr Pluhar: L'Artemisia, Act 2: "Affliggetemi, guai dolenti"

Francesco Cavalli: L'Ormindo, Act 2: "Che città"

L'Ormindo, Act 2: "Che città"

Giovanni Girolamo Kapsperger: Libro quarto d'intavolatura di chitarrone: Toccata prima

Libro quarto d'intavolatura di chitarrone: Toccata prima

Francesco Cavalli: Cavalli /Arr Pluhar

La Didone, Act 1: "Alle ruine del mio regno"

La Didone, Act 1: "L'alma fiacca svanì"

Andrea Falconieri: Il primo libro di canzone, sinfonie: "La suave melodia"

Il primo libro di canzone, sinfonie: "La suave melodia"

Gramophone Magazine

November 2015

“Up to 10 vivacious continuo pluckers generate lilting energy that transports listeners on an imaginative whistle-stop tour of Cavalli's operas…the singing is frequently sensational and L'Arpeggiata's colourful playing conjures alluring fantasy”

Classical Music

December 2015


“Soloists Nuria Rial and Hana Blažiková are superb and the whole enterprise glows with commitment and panache.”

BBC Music Magazine

March 2016


“Hana Blažiková's limpid sound contrasts well with Nuria Rial's smokier tones. After L'Arpeggiata's recent forays into jazz, popular and cross-over repertoires, it is good to hear them return to Baroque music - and on dazzling form.”

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