ATTILIO ARIOSTI (1666-1729)
London - arias for alto

01 Sorga pur l’oppressa Roma [Vespasiano – London 1724]
02 Bella mia, lascia ch’io vada [I gloriosi presagi di Scipione Africano – Vienna 1704]
03 Perdonate, o cari amori [Caio Marzio Coriolano – London 1723]
04 Premerà soglio di morte [Vespasiano – London 1724]
05 Ouverture (instr.) [Caio Marzio Coriolano – London 1723]
06 Presto (instr.) [Caio Marzio Coriolano – London 1723]
07 Rinasce amor [Aquilio Consolo – London 1724]
08 Spirate, o iniqui marmi (recit.) [Caio Marzio Coriolano – London 1723]
09 Voi d’un figlio tanto misero [Caio Marzio Coriolano – London 1723]
10 Voi del ciel pietosi numi [Dario – London 1725]
11 Venga pur quel sì terribile [Tito Manlio – London 1717]
12 Sinfonia (instr.) [La profezia d’Eliseo nell’assedio di Samaria – Vienna 1705]
13 col nemico di mia pace [Tito Manlio – London 1717]
14 Benché l’ultimo al tormento [La madre de’ Maccabei – Vienna 1704]
15 Aure care [Tito Manlio – London 1717]
16 Quando il mondo fabbricò [La madre de’ Maccabei – Vienna 1704]
17 Io spero che in quei guardi [Caio Marzio Coriolano – London 1723]

—

About this CD

With his London album for Glossa, Florentine countertenor Filippo Mineccia has constructed a compelling survey of arias written for the European stage by the colourful and much-travelled Attilio Ariosti. Mineccia has quickly become one of the exciting young talents revelling in the vocal demands called for from opera seria, whether in live performance – he has been much in demand for roles in Handel; or on record – he appeared as Tamerlano on the recent Gasparini Bajazet on Glossa release and has also recorded with the likes of Antonio Florio and Alan Curtis.

For a composer who has received little attention on record, Ariosti was remarkably successful in his own time: whether as a composer, a performer or a diplomat (and he was a monk too) he was sought after in the courts of Mantua, Berlin, Vienna and Paris before he made his way to London in 1716. There he wrote for singers such as Senesino and Cuzzoni and went on to become one of the three leading composers at the Royal Academy alongside Handel and Giovanni Bononcini.

Filippo Mineccia’s recital includes arias written for divos such as Senesino taken from drammi per musica – such as the highly successful Caio Marzio Coriolano, Vespasiano and Tito Manlio which are strongly represented on this recording. Although formed as recently as 2010 Andrea Friggi’s Ensemble Odyssee has also quickly established itself with its dynamic interpretations of Italian music from across the eighteenth century. Friggi also provides us, in the booklet essay, with an insight into the chequered life and compositional variety of Attilio Ariosti.