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CHAN 0656M
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CHAN 0656
(multiple CD Set)
Arianna - A Play in Music and 5 Voices

Marcello: Arianna

The Classical Shop
release date: May 2000

Originally recorded in 1999


Academia de li Musici

Filippo Maria Bressan

Sergio Foresti

bass - Bacco

Antonio Abete

bass - Sileno

Gloria Banditelli

contralto - Fedra

Anna Chierichetti

soprano - Arianna

Mirko Guadagnini

tenor - Teseo

Athestis Chorus


Sala Maffeiana del Teatro Filarmonico di Verona, Verona


Massimo Del Santo


Michael Seberich

Record Label



Early Music

Total Time - 183:51
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Marcello: Arianna

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Arianna - A Play in Music and 5 Voices

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  A play in music for five voices  
  Verse text by Vincenzo Cassani  
  Sinfonia 6:59      
1 Presto - 3:07
2 Largo - 2:40
3 Presto - 1:12
  Part One  
  Scene 1  
4 Chorus: 'Sù, nocchieri sciogliamo le vele' - Presto 1:19
5 Recitative: 'Fedra, il tempo quest'è' 2:41
  Theseus and Phaedra  
6 Aria: 'So quanto piangerai' - Lento 7:15
  Scene 2  
7 Recitative: 'Qual mai gran pena' 0:38
8 Aria: 'Se ad appagar volesse il cielo' - Presto - Allegro - Presto 5:15
  Scene 3  
9 Recitative: 'A terra, a terra' 0:21
10 Chorus: 'Ebbre bessaridi' - Allegro 4:35
  Satyrs, Bassarids and Fauns  
  Scenes 4 and 5  
11 Recitative: 'Qual suono strepitoso . . .' 3:11
  Ariadne, Bacchus and Silenus  
12 Aria: 'Re de' venti' - Presto 6:41
13 Accompanied recitative: 'Ah, che veggio?' 2:21
  Ariadne, Bacchus and Silenus  
14 Aria: 'È più tenace di vischio' - Allegro 4:35
  Scene 6  
15 Recitative: 'Miseri noi!' 1:14
  Theseus and Phaedra  
  Scene 7  
16 Recitative: 'No, scellerato!' 1:25
  Ariadne, Phaedra and Theseus  
17 Aria: 'Incauta farfalletta' - Allegro 5:47
  Scene 8  
18 Recitative: 'O mio rossor' 1:57
  Phaedra and Theseus  
19 Aria: 'Se vier non poss'io' - Lento 5:29
  Scene 9  
20 Recitative: 'Teseo non dubitar' 1:08
  Bacchus, Theseus and Silenus  
21 Aria: 'O quante volte sentito avrai' - Largo assai 8:07
  Scene 10  
22 Recitative: 'Come sì presto divenisti amante?' 0:43
  Silenus and Bacchus  
  Scene 11  
23 Recitative: 'Vieni Arianna' 1:30
  Bacchus, Ariadne and Silenus  
24 Aria: 'Tra gli astri splenderà' - Allegro 4:20
  Scene 12  
25 Recitative: 'Deh scuoprimi, o Sileno' 0:29
  Ariadne and Silenus  
26 Aria: 'Nel paese dove il sol esce fuora' - Allegro 4:05
27 Recitative: 'Che favellar è il tuo?' 0:27
  Ariadne and Silenus  
28 Aria: 'Ma già scoperti d'Amor i crud'inganni 6:01
29 Recitative: 'Se no'l conosci ancora' 0:15
30 Chorus: 'Viva il forte, viva il grande' 6:15
  Bacchus' Followers  
  Part Two  
  Scene 1  
31 Recitative: 'Invan mi fuggi' 1:38
  Ariadne and Phaedra  
32 Aria: 'Non è colpa del mio core' - Adagio 7:07
  Scene 2  
33 Recitative: 'Arianna' 3:06
  Theseus and Ariadne  
34 Aria: 'Come mai puoi vedermi piangere . . .? - Largo, tempo giusto 9:58
  Scene 3  
35 Recitative: 'È questa la vendetta . . .?' 2:26
  Bacchus, Silenus, Ariadne and Theseus  
36 Aria: 'Conosco il mio fallo' - Largo 4:14
  Scene 4  
37 Recitative: 'Possibile, Arianna . . .?' 1:25
  Bacchus and Ariadne  
38 Aria: 'Spero di vendicarmi' - Presto 3:56
  Scene 5  
39 Recitative: 'Qual mai gran doglia . . .?' 0:56
  Bacchus and Silenus  
40 Aria: 'Nave che solca profondo mare' - Allegro - Lento - Allegro 5:35
  Scene 6  
41 Recitative: 'Stelle, voi che reggete' 1:08
  Phaedra and Theseus  
42 Aria: 'Non è si forte la quercia al vento' - Allegro 6:06
  Scene 7  
43 Recitative: 'Teseo, tempo è che siamo ambi felici' 0:27
  Bacchus and Theseus  
  Scene 8  
44 Chorus: Satiretti lascivetti' - Allegro - Largo - Allegro - Largo - Allegro 5:17
  Bassarids, Satyrs, Peasant Women and Fauns  
45 Recitative: 'Che mai sentiam?' 0:36
  Phaedra and Theseus  
46 Aria: 'Lascia di più languir' - Allegro 9:21
  Scene 9  
47 Recitative: 'Qual forza ignota a ritornar mi tragge?' 1:13
  Ariadne, Theseus, Phaedra and Bacchus  
48 Aria: 'Latte, e mele ecco vegg'io' - Adagio - Allegro - Adagio 8:58
  Scene 10  
49 Recitative: 'Signor, questa corona' 1:48
  Silenus, Ariadne, Bacchus, Phaedra and Theseus  
50 Aria: 'Che dolce foco in petto' - Allegro 6:50
51 Recitative: 'Dunque non m'odi più?' 2:13
  Theseus, Phaedra, Ariadne and Bacchus  
52 Duet: 'Grande e possente nume Lieo' 1:09
  Theseus and Phaedra  
53 Chorus: 'Serto di stelle lucide' 0:47
54 Accompanied recitative: 'D'un sì gran nume' 1:06
  Theseus, Silenus and Phaedra  
55 Chorus: 'Viva Bacco vincitore' 1:28
 Anna Chierichetti soprano - Arianna
 Gloria Banditelli contralto - Fedra
 Mirko Guadagnini tenor - Teseo
 Sergio Foresti bass - Bacco
 Antonio Abete bass - Sileno
 Filippo Maria Bressan
  14-20 November 1999  
The Academia de li Musici under the baton of Filippo Maria Bressan, perform the world premiere recording of Bendetto Marcello’s sumptuous opera ‘Arianna’.

Using early instruments and applying period performance practices the Academia de li Musici draws upon some of the best Italian musicians, including several of international renown. The ensemble is conducted by Filippo Maria Bressan who has profound knowledge of choral music and oratorio, specialising in the performance of early music.

Born in Venice in 1686, Benedetto Marcello learnt the violin from his father but took a dislike to it in favour of singing and counterpoint. In 1707 Marcello was chosen to serve on the Grand Council of the Republic which opened the way to a succession of important posts in the public service. His first musical publication, a set of twelve concertos, appeared in 1708. But it was vocal works, both secular and sacred in large-scale and intimate forms, which were to constitute the core of his output.

‘Arianna’ was first performed in Venice, in the winter of 1726, when Marcello had turned forty and was at the height of his fame. He had just published his ‘L’estro poetico-armonico’, and enjoyed the success in Vienna of a eulogising serenata commissioned for the birthday of the emperor Charles VI.

Marcello was a high-born amateur musician, who had a clear competitive streak in him, he wanted to shine in everything that he did, particularly in the field of music and against the professional musicians with whom he felt he was competing. His ‘Canzoni madrigalesche’, for example, were written with the objective of perfecting the style of Antonio Lotti’s ‘Duetti’, and the title of his own magnum opus (‘L’estro poetico-armonico’) not only recalls, but also goes one better than, Antonio Vivaldi’s Op. 3 (‘L’estro armonico’). It is striking that in the year following his important Viennese commission coincidences can be observed which link his most important works to events that occurred in the Austrian capital. In 1726 Antonio Caldara’s oratorio ‘Joaz’ had been performed at court, and at almost the same time Marcello set the same text.

‘Arianna’ is almost contemporary with ‘Joaz’, and here too the subject is identical to a stage play performed in Vienna the same year, ‘La corona d’Arianna’, with music by the court Kapell-meister Johann Joseph Fux. It was typical of eighteenth-century librettists to insert a wealth of references to contemporary life which frequently resulted in the accretion of many layers of motifs around a single dramatic nucleus, enriching it to the extent that the survival of the work was guaranteed despite the changes in public taste and that of the commissioning patrons.

‘Filippo Maria Bressan’s all-Italian forces give a vivid performance of this fascinating if uneven work… Recommended to any baroque enthusiast who fancies venturing off the beaten track.’
The Daily Telegraph on CHAN 0637 (Marcello)

‘The quality of this performance is high, with a fine Italian period-instrument orchestra, the Academia di li Musici, under the attentive direction of Filippo Maria Bressan…Excellent sound, and comprehensive information on the work and its context in the booklet’.
Opera Now

Performance and sound are excellent. Such music can glitter; here the sound is velvety, which is much more appropriate’
Fanfare on CHAN 0637 (Marcello)

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