Italian Baroque Opera Gala:
Il Teatro dei Re

Location:
Convento del Bigorio

https://maps.app.goo.gl/eSh4KTZQZzEfsgvk8

LIVESTREAMING
Italian Baroque Opera Gala:

Il Teatro dei Re

Sinfonie e Arie nell’Opera napoletanae veneziana

Marco Angioloni - tenore

Ensemble Baroque Lumina
Patrizio Focardi, Hailke Wulf violini
Hildegard Kuen, viola
Giacomo Petrucci, violoncello
Francesco Tomei, violone
Anna Clemente, clavicembalo | harpsichord
Giacomo Benedetti - direttore al clavicembalo | harpsichord

P R O G R A M M A

ANTONIO VIVALDI (1678-1741)

Concerto Grosso in Re min. RV565
Allegro-Adagio, Allegro, Largo, Allegro

da Arsilda, regina di Ponto (1716)
Sinfonia strumentale
La tiranna avversa sorte
La mia gloria ed il mio amore

ALESSANDRO SCARLATTI (1660-1725)

Concerto grosso n. 1 in fa minore R533per archi e basso continuo
Grave-Allegro-Largo- Allegro Allemande

da Telemaco (1718)
lo pavento il tradimento
Mio dolce nettare

ANTONIO CALDARA (1670-1736)

Trio Sonata in Mi minore
Grave - Vivace - Adagio – Vivace

Ciaccona in Si bemolle opus 2 n.12
da Adriano in Siria (1734)
Leon piagato a morte

https://sites.google.com/view/mac-2026-30-maggio/3-it-baroque-op-gala-il-teatro-dei-re

This concert transports us to the heart of the early Italian eighteenth century—an era when instrumental and theatrical music were inextricably intertwined, reflecting the elegance, virtuosity, and expressive sensibility of the mature Baroque.
Three major figures—Antonio Vivaldi, Alessandro Scarlatti, and Antonio Caldara—guide us on a journey through the rich soundscape of their time, featuring the *concerto grosso*, the trio sonata, and selections from the operatic repertoire.
Antonio Vivaldi (1678–1741)
The program opens with the *Concerto Grosso* in D minor, RV 565, a work of extraordinary vigor and contrast that alternates brilliant movements with meditative sections, embodying Vivaldi’s characteristic interplay of light and shadow.
Next come three pieces from the opera *Arsilda, regina di Ponto* (1716): the instrumental *Sinfonia*—brimming with theatrical energy—and the arias "La tiranna avversa sorte" and "La mia gloria ed il mio amore," which showcase the melodic refinement and emotional intensity of the "Red Priest."
Alessandro Scarlatti (1660–1725)
A pioneer of the Neapolitan style, Scarlatti is represented by his *Concerto Grosso* No. 1 in F minor (R 533) for strings and basso continuo. This work combines the contrapuntal rigor and *cantabile* elegance typical of his musical language.
From the drama *Telemaco* (1718), we will also hear the arias "Io pavento il tradimento" and "Mio dolce nettare"—complementary expressions of the emotional *chiaroscuro* found in Baroque opera: dramatic tension on the one hand, and lyrical tenderness on the other. Antonio Caldara (1670–1736)
The musical journey concludes with the Trio Sonata in E minor—structured in four movements that alternate between expressive gravity and dance-like liveliness—an example of the Venetian composer’s refined instrumental writing.
Next comes the Chaconne in B-flat, Op. 2 No. 12, built upon a *basso ostinato* that supports a series of increasingly inventive variations, balancing elegance with virtuosity.
Finally, from the opera *Adriano in Siria* (1734), we hear the aria “Leon piagato a morte”—an intense, dramatic piece that brings the concert to a close in the spirit of the highest Baroque expressiveness.