Jealousy

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Cantata à voce sola di soprano con tromba e stromenti d'arco
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Collection of 6 cantatas for soprano
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A Scarlatti: E come, oh Dio
Forces: soprano & continuo

[ca.1697/8]

Remarkable, dramatic recitatives, female narrator, theme of jealousy caused by separation; range: d'- g

Editor: Rosalind Halton

Cantata à voce sola di soprano
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A Scarlatti: Mi tormenta il pensiero (i)
Forces: soprano & continuo

The first version of this cantata, dated 10 March 1701 in Scarlatti's 'Cantata Diary'. 'Tormented by my thoughts, consumed with desire, lost is hope, and without hope what point is there in life?' The torments of Jealousy in love. RARA format.

Source: Münster Santini Sammlung HS 864(7)

Range: d - g'

Editor: James Sanderson

Cantata à voce sola di soprano
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A Scarlatti: Mi tormenta il pensiero (ii)
Forces: alto & continuo

The second version on this text, using more of the text than version I. The cruel force of Jealousy plagues the young lover in this concisely written pastoral cantata. Tormented by thoughts, consumed with desire, lost is hope, and without hope what point is there in life?.

Source: Münster Santini Sammlung 3909

Range: b - c#'

Editor: James Sanderson

Cantata à voce sola di contralto
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A Scarlatti: O che mostro, o che furia è Lontananza (1709)
Forces: soprano & continuo

Text is by Cardinal Ottoboni: being apart is a monster, a fury, and always gives rise to jealousy. Arias are in B flat (very ornate) and C major (very cheerful and melodic), and the cantata finishes with a brief recitative, giving thanks for faithful love which can survive separation. Both arias have rewarding dialogue for voice and cello. RARAR format

Range: e flat'- g''

Source: British Library, Add. Ms. 34056

The whole manuscript contains settings of Ottoboni's texts.

Editor: Rosalind Halton

Cantata à voce sola di soprano
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A Scarlatti: Silentio, aure volanti
Forces: soprano, strings & continuo

'Silentio, aure volanti - the pain of unrequited love in a sinuous cantata of the night. Arioso interwoven into a contrapuntal 4 part texture is a feature of this early work, whose central aria 'Piangerò' is a profound lament in C minor. 'Silentio, aure volanti' can be heard on 'Olimpia and other Cantatas by Alessandro Scarlatti', chacona (ABC Classics 461 687-2).

Range d'-a''.

Editor: Rosalind Halton

Cantata à voce sola di soprano con violini
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A Scarlatti: Su le sponde del Tebro
Forces: soprano, trumpet, strings & continuo

A virtuosic and taxing cantata in 10 sections. "...on the banks of the Tiber...faithful Aminta, from his infinite sadness cried to Heaven and Earth of the scornful Clori “I am betrayed”...'

Source: Florence, Conservatorio Luigi Cherubini D 2364

Range: d# - a''

Editor: James Sanderson

Cantata à voce sola di soprano con tromba e stromenti d'arco
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Astorga: Non lasciarmi o bella speme
Forces: soprano & continuo

For once love and constancy is rewarded. Although the lover fears jealousy and distance from the beloved, 'hope springs eternal' for "...the distance between us is nothing when I know of your sweet constancy..." Some wonderfully chromatic moments in the first largo aria and the closing allegro is fully of rhythmic shifts.

Source: Santini HS 859 (last)

Range: e flat - g'

Editor: James Sanderson

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D Scarlatti: Pur nel sonno almen tal'ora
Forces: soprano, violins & continuo

Domenico Scarlatti's extraordinary setting of Metastasio's cantata. The format is two-part instrumental introduction, aria, recit, aria with typically virtuosic writing for both violins and voice. The subject is mourning for lost Fille - lost to rival Fileno. Summed up well in the final line: If for for a moment of dreaming I am happy, my torment increases with the coming day.

Range: c - a''

Editor: Kate Eckersley & James Sanderson

Cantata à voce sola con violini
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Fago: Sia con me Fillide ingrata
Forces: soprano & continuo

Source: BL Add MS 38036 ff 121r - 124r

No birds, but plenty of bees, roses and, of course, thorns in this charming cantata by the Neapolitan Nicola Fago. Smitten by ungrateful Fillide, the lover swears eternal constancy - why? In aria - recit - aria (Affettuoso) format

Range: e - a''

Editor: James Sanderson

Cantata à voce sola di soprano
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Leo: Oimè, che veggio?
Forces: soprano & continuo

The pain of betrayal and the anguish it causes is the theme of the first part of this delightful cantata. The sobbing of the affettuoso aria is beautiful. The second half of the cantata, however, sees our young man in a fury! His long recit and final 'rage' aria (with its contrasting 3/2 middle section) are a piece of virtuosic writing of the first order.

Editor: James Sanderson

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Leo: Quel usignuolo che in quella pianta
Forces: soprano & continuo

As the nightingale sings of the pains of love, Filli's lover swears his devotion to her and begs her to ignore all the lies and jealousies that plague young love. ARA format, the first a complex and virtuosic larghetto, e cantabile, the last marked non presto

Source: Münster Santini Sammlung Hs 2358

Range: e - a''

Editor: James Sanderson

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Mancini: Allor che ad' altro oggetto
Forces: soprano & continuo

The fire and pains of jealousy and unrequited love fan our protagonist's ardour in this lovely cantata. In RARA format, the first aria full of unexpected chromaticism, the second an excellent 'walking bass'.

Source: Münster HS 2459(6)

Range: f - g'

Editor: James Sanderson

Cantata à voce solo di contralto
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Mancini: Barbara gelosia
Forces: soprano & continuo

"Between hope and fear the poor heart does not know what to do..." So ends this exciting cantata in ARARA format. Virtuosic (but with pathos). A tale of how jealousy can ruin even the strongest of relationships.

Range: d - b''

Source: Biblioteca del Conservatorio di musica S. Pietro a Majella - Napoli - IT-NA0059; Segnatura: Cantate 29-07

Editor: James Sanderson

Cantata à voce sola di soprano
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Porpora: Cantatas Op. 1 (pt. 1 - soprano)

Forces: soprano & continuo

The first six of the cantatas dedicated to the Prince of Wales in 1735

All to texts by Metastasio, they are virtuosic, filled with beautifully written recitatives and arias, perhaps the high-point of Porpora's work in this genre.

D'amore il primo dardo
Nel mio sonno almen
Tirsi chiamare a Nome
Queste che miri o Nice
Scrivo in te l'amato nome (Il nome)
Già la notte s'avvicina

See the individual titles for previews

Editor: James Sanderson
Collection of 6 cantatas for soprano
£17.95
Porpora: Il Vulcano
Forces: soprano, strings & continuo

A stunning, large work with some really impressive vocal writing, both in the recitatives and the 2 arias. Opening with a Sinfonia in two parts, Vulcan bemoans Venus and her inconstancy. Not, perhaps, an ideal wife for him after all! The first aria, Largo is expressive and virtuosic and the final aria is appropriately fiery.

Editor: James Sanderson

Cantata à voce soprano con violini
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Porpora: Ò come à tempo qui t'incontro
Forces: soprano & continuo

Source: 2 copies in the British Library

This is not a cantata to win friends and influence people within the 'feminist movement'. The final (strangely written) aria uses the text: You are a woman, so I expect you to be inconstant and unfaithful, but I forgive you; I am a man and will fall in love with other women, just enjoy it!. It's either a very modern marriage or slightly insulting, you decide. In two recit and aria format, the arias both largo and without ritornelli.
Range: d - g'

Editor: James Sanderson

Cantata à voce sola di soprano
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