NEW MUSIC AND VIDEO KLIP 2011

Giovanni Battista Bononcini
La Nemica D'Amore Fatta Amante - Serenata à 3
Ensemble 415, Chiara Banchini
Zig Zag Territoires ZZT 030801

Giovanni Bononcini (1670-1747) was a gifted cellist and a rival of Handel's; he wrote more than 30 operas and 300 cantatas. I approached this "serenata a tre" with trepidation, fearing something coy and intermezzo-like; in fact, it's simply beautiful. The not-riveting plot concerns soprano nymph Cloris' refusal of love for countertenor shepherd Tirsi, and her subsequent turnaround. Baritone Fileno, a satyr, loves her but convinces her that love is cruel because he is jealous of her love for Tirsi. In the end, Fileno vows vengeance and departs, and the lovers unite, praising fidelity and love. Bononcini manages to capture truly felt moments of love, anger, warmth, happiness, and heartbreak with minimal forces--just a few strings, all played stunningly (as usual) by Ensemble 415--and fine melodies. The prominent, delicately played theorbe in the opening sinfonia is a hint of niceties to come; a solo violin winds around Cloris' "Tortorella inamorata" and adds to its meaning. Throughout, Bononcini shows himself a master at setting words to suitable music for the deeper significance of both. The entire work is both moving and charming--and doesn't have an inelegant moment.

And the performances are excellent. In addition to the right-on playing, the three singers are well cast. Adriana Fernandez has a light, unaffected soprano, and she delivers the recitatives as honestly as she does the arias. Her simplicity keeps her in character throughout. Martin Oro's countertenor sound is diaphanous rather than either hooty or dramatic, and he matches his Cloris in innocence and sincerity. Their little duet--"For you I die, beautiful joy of my heart, my beloved treasure"--is a perfect gem. These are two fine musicians. Furio Zanasi, though possessing a light, "early-music" baritone, conveys wretchedness, resentment, and anger with great zeal. In short, this 68-minute miniature, which could have been a chore, is performed as if it were the only work ever written about nymphs and shepherds, and as such it seems an unhackneyed masterpiece. [3/25/2004]

Robert Levine, Classics Today