Performer:Sardelli Federico Maria: conductor Faelli Marco: chorus master Orchestra & Chorus of the Arena di Verona La Marchesa: Martorana Maria Laura La Generala: Romano Marco Filippo La Colonnella: Cigna Patrizia LAiutante Maggiore: Bove Rosa Amaranto: DAguanno Emanuele Girasole: Adam Krystian Il Conte: Lo Piccolo Maurizio Teatro Filarmonico, Verona, 2009
STRONG POINTS: - World premiere recording - The first world performance in modern times. - Extraordinary ability to put each word of the libretto in music - Each word has a sound and a musical effect - An amusing, brilliant and fresh opera to listen rediscovering and revealing a great composer. - No rivalry with Mozart.
PROGRAM: The trama of this very amusing opera starts with the following.. A very long time ago a throng of bold women weary of servile fetters from Europe seeks refuge on an island and begins to take command over the men they have brought with them. In this new organisation of roles, the men occupy themselves with fashion and the women with war. They even make love the other way round. Amaranto, nephew of the Generala (an old woman with a bass voice), is courted by the Colonnella. A Count and a Marquise from Europe are shipwrecked on the island. The Count is upset when he finds that he is the most sought-after prey on the island, whilst the Marquise is led off to the military exercises. Even the sexual preferences of the fashion designer Girasole (Sunflower), a factotum like Figaro in Il Barbiere di Siviglia but gay, and of the boy assistants, are focused on the Count.
INFORMATION: (extract from the notes incl. in the Cd) For more than twenty-five years now the popular image of Antonio Salieri has taken on the resentful personality given to him by Fahrid Murray Abraham in Milos Formans film Amadeus (1984). Salieri indeed has been waiting for nearly two hundred years to have his name cleared, since the suspicion that he eliminated Mozart started to circulate in the 1820s. Paradoxically, Milos Formans film did increase his popularity, albeit negatively - if we are to accept Oscar Wildes maxim that the only thing worse than being talked about is not being talked about. What is absolutely certain is that Salieri neither killed Mozart nor did anything to speed his demise on. Listening to Salieris music, and in this particular instance, to an opera which has been exhumed after over two hundred years oblivion like Il mondo alla rovescia, we immediately find analogies with the language of Mozarts operas on librettos by Lorenzo Da Ponte. Mozart died on the night between 4th and 5th December 1791; Il mondo alla rovescia was first staged at the Burgtheater in Vienna on 13th January 1795; ergo, according to a dubious syllogism sustained by mere chronological order and no other real element of support, the opera was influenced by Mozart - a truth that is too obvious and too banal. For over thirty years, in fact, Salieri was one of the foremost figures of theatrical life in Vienna, and clearly could not have been if he had not been endowed with an authentic, original musical talent, capable then of defining his own style and personal artistic physiognomy. In reality, the problem of the reciprocal influence of the two composers, Mozart and Salieri, still needs to be clarified to a great extent.
BIO: In 1984 Federico Maria Sardelli founded the Baroque orchestra Modo Antiquo, with which he appears at major festivals and concert halls throughout Europe as both soloist and conductor. He is regularly invited to the most prestigious European concert halls. He appears as a guest conductor with many symphony orchestras, including the Orchestra of the Maggio Musicale Fiorentino. Since 2006 he has been principal guest conductor of the Turin Philharmonic Orchestra. Federico Maria Sardelli records for Naïve and Deutsche Grammophon. He has made more than forty recordings as soloist and conductor, some of them in co-production with the German broadcast company Westdeutscher Rundfunk (WRD 3). He has twice been nominated for the Grammy Awards, the most prestigious recording prize. Federico Maria Sardelli has been a notable protagonist in the Vivaldi renaissance of the past few years: he conducted the world premiere recording and performance of the operas Arsilda Regina di Ponto, Orlando Furioso, Tito Manlio, Motezuma, and Atenaide. He recently conducted Handels Ariodante at the Opera House in Halle and Domenico Sarros Achille in Sciro at the Festival della Vale dItria, Italy, Juditha Triumphans at the Santiago de Compostela Festival and at the Teatro Olimpico in Rome, Handels Ariodante in Halle, Beethovens overtures with Réal Filarmonia de Galicia, etc. He has performed the first world performance of Salieris Il Mondo alla Rovescia at Teatro Filarmonico di Verona and Legnago (nov. 2009), Cavallis Giasone at the Flaamske Oper (march 2010), Händels Alcina at the Teatro Municipal in Santiago del Chile, a new Vivaldis opera at Santiago de Compostela Festival, etc. Alongside his career in the concert hall, he is also extremely active as a musicologist. He is a member of the musicological committee of the Istituto Italiano Antonio Vivaldi, and has published many musicological essays and critical editions (he is the author of the study Vivaldis Music for Flute and Recorder, translated by Michael Talbot and published in the UK by Ashgate). He is general editor of the collection of facsimile editions Vivaldiana and of the Opere Incomplete (SPES, Florence). Peter Ryom has chosen him to be the person in charge of the continuing Vivaldi Catalogue (RV). For his artistic merits, on 28th november 2009, the Government of Tuscany decorated Federico Maria Sardelli with the Gonfalone dArgento, the highest medal of honour. His next book on music is forthcoming: the Catalogue of Vivaldis musical concordances, by Fondazione G. Cini and Olschki. Federico Maria is also a painter, engraver and satirical writer, but that is another story.
Track List: - Su lincudine sonora (Chorus) 01:05 - Dal ritiro, Eccellenza (Girasole) 03:19 - Voi nemico mi volete? (Comandante) 02:47 - Or il maggior periglio (Colonnella) 01:03 - Cosa giova laver spirito (Ajutanta) 02:50 - No non avranno ardir (Generala) 01:57 - Questo core (Generala) 01:45 - Non molto fortunata (Conte) 00:35 - Il più felice istante (Conte) 01:28 - Ahimè! La Generala (Colonnella) 00:57 - Alle nozze questa sera (Conte) 04:52 - I gran preparativi (Marchesa) 02:38 - Quando più irato freme (Marchesa) 06:19 - Tranquilla e placida (Chorus) 07:26 - Di qual castigo (Generala) 01:44 - Speranze addio (Colonnella) 02:52 - Aura che intorno spiri (Colonnella) 04:36 - Avanzate (Ajutanta) 00:19 - Udir parmi di lontano (Girasole, Act 2 Finale) 14:05