Arianna in Rome. Arias, Cantatas and Laments for the Seventeenth-Century Virtuose

Featuring

Gabriele Pro
Carlotta Colombo
Giovanni Bellini
Nicola Procaccini
Anima & Corpo
Giovanni Girolamo Kapsberger

Luigi Rossi
Stefano Landi
Carlo Rainaldi
Ottavio Catalani
Girolamo Frescobaldi
Giacomo Carissimi
Paolo Quagliati
Claudio Monteverdi

Did you know?

1/7

Historical Context

This album explores the repertoire of "virtuose" (female musicians) in 17th-century Rome, many of whom were hidden as maids of honor in noble courts.

Historical Context

Singers in noble households were expected to perform not only for festive occasions but also to entertain during moments of leisure, a practice often depicted in plays and operas of the time.

Composition History

The research project "Virtuose di musica nell'Italia del Seicento" (The Virtuose di musica in seventeenth-century Italy) inspired this recording, aiming to uncover the biographies and repertoire of these female singers.

Compositional Technique

The album features three "lamenti" (laments) of literary characters—Arianna, Erminia, and Armida—which were typically written for a female interpreter.

Historical Context

Rome was considered the leading center for singer training in the 17th century, with notable composers like Stefano Landi, Luigi Rossi, and Giacomo Carissimi teaching young female singers.

Instruments

The "virtuose" were skilled instrumentalists, particularly on instruments they used to accompany their voices, such as the theorbo, guitar, harpsichord, lira, and harp.

Historical Context

In 17th-century Rome, female singers often had stable employment with aristocratic families or cardinals, receiving salaries, lodging, and sometimes even a dowry.