Ouverture to Germanico in Germania
Mira in cielo, Aria from Arianna in Naxo
Si pietoso il tuo labbro, Aria from Semiramide riconosciuta
Ouverture to L'Olimpiade
Nel già bramoso petto, Aria from Ifigenia in Aulide
Come nave in ria tempesta from Semiramide regina dell´Assiria
Dall'amor più sventurato from Orfeo
Le limpid'onde, Aria from Ifigenia in Aulide
La tempesta, in tempo di Ciaccona from Armida e Rinaldo
Alto Giove, Aria from Polifemo
Nell'attendere il mio bene, Aria from Polifemo
The music of Nicola Porpora exerted a potent influence on the development of dramma per musica in the 1720s and 30s. In the Neapolitan composer’s works, regarded as the cutting edge of modernity in all of Europe, he succeeded in fusing the most diverse styles, especially impressing his contemporaries with the rhythmic vitality he injected into the melodies of many of his arias. As a singing teacher whose renown continued long after his death – Farinelli and Caffarelli were among his pupils – Porpora stressed control and agility, ideals that also left their mark in the elaborate embellishments and virtuosic trills of his vocal writing.
In this context, Philippe Jaroussky – whose voice soars effortlessly into the high soprano range as well as mastering the most taxing coloratura with a wealth of nuances and a sense of floating lightness – has proved himself to be an ideal interpreter of Porpora’s music. “The resplendent god among the countertenors” (Süddeutsche Zeitung) will be accompanied by the Venice Baroque Orchestra, whose playing unites breathtaking virtuosity with unbridled energy and the art of creative phrasing – the sort of thrilling combination whose tempi at times seem to be setting world speed records.
In addition to overtures and arias from the pens of Nicola Porpora and Leonardo Leo, the musicians will also be devoting themselves to another Neapolitan, Giuseppe Sarti, who has worked with great success not only in his home country, but also in Copenhagen and St. Petersburg.