Bassani: Affetti canori, cantate et ariette, Op. 6 Anna Piroli, Luigi Accardo, Nicola Brovelli, Elisa La Marca

• Giovanni Battista Bassani (1647 - 1716): Affetti canori, cantate et ariette, Op. 6:
• 1 Bassani: Affetti canori, cantate et ariette, Op. 6: No. 11, Occhi amorevoli 04:15
• Affetti canori, cantate et ariette, Luci brune ho il cor ferito, Op. 6 No. 6:
• 2 Bassani: Affetti canori, cantate et ariette, Luci brune ho il cor ferito, Op. 6 No. 6: I. Luci brune ho il cor ferito 03:28
• 3 Bassani: Affetti canori, cantate et ariette, Luci brune ho il cor ferito, Op. 6 No. 6: II. Ahimè, io prego invano 00:44
• 4 Bassani: Affetti canori, cantate et ariette, Luci brune ho il cor ferito, Op. 6 No. 6: III. Pugnar con due pupille 01:30
• Affetti canori, cantate et ariette, Sconsolata gemea, Op. 6 No. 1:
• 5 Bassani: Affetti canori, cantate et ariette, Sconsolata gemea, Op. 6 No. 1: I. Sconsolata gemea 00:52
• 6 Bassani: Affetti canori, cantate et ariette, Sconsolata gemea, Op. 6 No. 1: II. Più non trovo 03:10
• 7 Bassani: Affetti canori, cantate et ariette, Sconsolata gemea, Op. 6 No. 1: III. Torna, deh, torna o caro 00:50
• 8 Bassani: Affetti canori, cantate et ariette, Sconsolata gemea, Op. 6 No. 1: IV. Di', di' pur sarai contento 01:40
• 9 Bassani: Affetti canori, cantate et ariette, Sconsolata gemea, Op. 6 No. 1: V. Mio cor dunque, preparati 02:26
• Affetti canori, cantate et ariette, Op. 6:
• 10 Bassani: Affetti canori, cantate et ariette, Op. 6: No. 10, Fiero tiranno amor 01:19
• Affetti canori, cantate et ariette, Ardea di due begl'occhi, Op. 6 No. 5:
• 11 Bassani: Affetti canori, cantate et ariette, Ardea di due begl'occhi, Op. 6 No. 5: I. Ardea di due begl’occhi 00:44
• 12 Bassani: Affetti canori, cantate et ariette, Ardea di due begl'occhi, Op. 6 No. 5: II. Dimmi fortuna, parlami al core 01:27
• 13 Bassani: Affetti canori, cantate et ariette, Ardea di due begl'occhi, Op. 6 No. 5: III. Dunque senza speranza 00:58
• 14 Bassani: Affetti canori, cantate et ariette, Ardea di due begl'occhi, Op. 6 No. 5: IV. Eri pur felice o core 02:32
• 15 Bassani: Affetti canori, cantate et ariette, Ardea di due begl'occhi, Op. 6 No. 5: V. Ma s'io scopro il mio foco 00:38
• 16 Bassani: Affetti canori, cantate et ariette, Ardea di due begl'occhi, Op. 6 No. 5: VI. Che mi giova dir che v’adoro 01:16
• 17 Bassani: Affetti canori, cantate et ariette, Ardea di due begl'occhi, Op. 6 No. 5: VII. Se con altro linguaggio 00:50
• 18 Bassani: Affetti canori, cantate et ariette, Ardea di due begl'occhi, Op. 6 No. 5: VIII. Credimi o non mi credere 01:08
• Affetti canori, cantate et ariette, Op. 6:
• 19 Bassani: Affetti canori, cantate et ariette, Op. 6: No. 7, Si si begl'occhi 01:26
• Affetti canori, cantate et ariette, Che ti costa o bocca avara, Op. 6 No. 3:
• 20 Bassani: Affetti canori, cantate et ariette, Che ti costa o bocca avara, Op. 6 No. 3: I. Che ti costa o bocca avara 03:34
• 21 Bassani: Affetti canori, cantate et ariette, Che ti costa o bocca avara, Op. 6 No. 3: II. Parlo con te mia Clori 00:30
• 22 Bassani: Affetti canori, cantate et ariette, Che ti costa o bocca avara, Op. 6 No. 3: III. M'impegno ad adorarti 02:12
• Affetti canori, cantate et ariette, Op. 6:
• 23 Bassani: Affetti canori, cantate et ariette, Op. 6: No. 8, M'e grato il languire 03:09
• Affetti canori, cantate et ariette, Ove con piè fugace, Op. 6 No. 4:
• 24 Bassani: Affetti canori, cantate et ariette, Ove con piè fugace, Op. 6 No. 4: I. Ove con piè fugace 01:02
• 25 Bassani: Affetti canori, cantate et ariette, Ove con piè fugace, Op. 6 No. 4: II. Per quel bello ognor sospiro 02:46
• 26 Bassani: Affetti canori, cantate et ariette, Ove con piè fugace, Op. 6 No. 4: III. Qui tacque l'infelice 00:27
• 27 Bassani: Affetti canori, cantate et ariette, Ove con piè fugace, Op. 6 No. 4: IV. Placid'aure 02:06
• Affetti canori, cantate et ariette:
• 28 Bassani: Affetti canori, cantate et ariette: No. 12, Un occhio vezzoso 01:22
• Affetti canori, cantate et ariette, Lungi dal bel ch'adoro, Op. 6 No. 2:
• 29 Bassani: Affetti canori, cantate et ariette, Lungi dal bel ch'adoro, Op. 6 No. 2: I. Lungi dal ben ch’adoro 00:39
• 30 Bassani: Affetti canori, cantate et ariette, Lungi dal bel ch'adoro, Op. 6 No. 2: II. Ombre fosche 03:01
• 31 Bassani: Affetti canori, cantate et ariette, Lungi dal bel ch'adoro, Op. 6 No. 2: III. Deh, Tirsi a me ritorna 00:57
• Affetti canori, cantate et ariette, Op. 6:
• 32 Bassani: Affetti canori, cantate et ariette, Op. 6: No. 9, Dolce mio bene 03:03
• Total Runtime 56:01

Info for Bassani: Affetti canori, cantate et ariette, Op. 6

Der paduanische Komponist Giovanni Battista Bassani, ein Zeitgenosse Corellis, war ein hervorragender Streicher und Organist. Ein wichtiges Element seines kompositorischen Schaffens sind die cantate amorose (»Liebeslieder«). Seine 1684 erschienene Sammlung Affetti canori cantate e ariette ist das ausdrucksstarke Meisterwerk seiner Reife, in dem er die Liebe als Quelle des Leidens erforscht. Seine musikalische Palette ist reichhaltig und abwechslungsreich, mit einer kunstvollen Verwendung der Chromatik. Die Rezitative und Arien in diesem Werk zeichnen eine detaillierte Entwicklung von Stimmungen nach und sind ein Beispiel für eine echte Verbindung von Text und Musik.

Anna Piroli, Sopran
Luigi Accardo, Cembalo, Orgel
Nicola Brovelli, Cello
Elisa la Marca, Theorbe, Gitarre

Anna Piroli
soprano, dedicates herself to contemporary vocal music, starting from a wide range of artistic training that includes baroque practice, opera tradition, choral and ensemble experience, combined with academic studies in linguistics and literature, stage practice and opera direction, and research in the field of vocal education.

Born in 1989 in Cremona (Italy), after a Bachelor degree in Literature cum laude (with a thesis on Stravinsky and Orff) she obtained the Three-year degree in singing at the Conservatorio "G. Verdi" in Milan with full marks, and two Master of Arts degrees at the Conservatorio della Svizzera Italiana under the guidance of Luisa Castellani (Master in vocal pedagogy in 2016 and Master in singing performance in 2018, obtaining honourable mention in both recitals). Over the years she has attended masterclasses with important interpreters of baroque vocal music (M. Pennicchi, P. Vaccari, R. Invernizzi, S. Prina, E. Kirkby, N. Rogers), and she has deepened her knowledge of chamber music with historical instruments with G. Togni. At the same time she perfected her knowledge of contemporary vocal music with L. Castellani, N. Isherwood and the Ensemble Linea in Strasbourg and A. Caiello and the Divertimento Ensemble. Winner of the first edition of the scholarship promoted by the Isabella Scelsi Foundation, she was chosen by Michiko Hirayama to start an exclusive course of study of Giacinto Scelsi's vocal works. She also specialised in the bel canto repertoire with L. Serra and T. Fabbricini at the Fondazione Donizetti in Bergamo and the Accademia Teatro alla Scala in Milan. In 2016 she debuted the role of Tina, the protagonist of S. Gervasoni's opera Limbus-Limbo at the National Opera House in Kiev with Ukho Ensemble conducted by L. Gaggero. She sang in two different editions of the Biennale Musica in Venice, performing on stage unique acts by F. Ciurlo and A. Cortese, directed by M. Mantanus and F. Perocco. She has been appreciated several times in L. Berio's Folksongs (LAC Lugano, Bellinzona, Milano Film Festival, Bergamo, Modena, Moncalvo, Asti) and in L. Berio's Laborintus II in Sala Verdi in Milan. She collaborated with the vocal ensemble Vox Àltera for the premiere of A sei voci by B. Furrer in the Festival La Via Lattea in Mendrisio and Venice. Together with Divertimento Ensemble she sang in Milan G. Ligeti's Aventures (Tearo Litta) and B. Furrer's Lotófagos (Auditorium S. Maria Litta). Furrer (Auditorium S. Fedele); she was soloist with MDI Ensemble in U. Chin's Akrostichon-Wortspiel at the Fondazione Spinola Banna per l'Arte. She has given numerous first performances of works by emerging composers (M. Azzan, Z. Baldi, C. Ciceri, R. Marsicano, M. Saleri, H. Yoon,...) and has collaborated with conductors such as F. Bossaglia and with the Gioventù Musicale Internazionale.

In addition to contemporary opera roles, she was soloist in the 2015 AsLiCo season as contadina in Nozze di Figaro under the baton of S. Montanari, and elsewhere she has played supporting roles in traditional and non-traditional operas: Annina in Traviata, Paggio and Contessa in Rigoletto, il Fuso in Respighi's La bella dormiente, Criside in Satyricon and Poma in Maderna's L'Augellin Belverde, Virtù in Monteverdi's L'incoronazione di Poppea. In 2016 she was the protagonist of the eighth edition of Opera Kids of the Teatro Sociale di Como with the show T come Turandot, with more than 30 performances in some of the main Italian theatres. In the 2017 season of the Teatro Donizetti in Bergamo she was engaged as a cover for the farce Che originali! by Mayr.

As a soloist in the baroque repertoire she has performed in contexts such as the Festival di Musica Sacra in Trento, the Festival Mozart in Rovereto, the Festival degli Strumenti Antichi in Cagliari, and has collaborated with Concert d'Amis, Musici di Castello, Ensemble San Felice in Florence, Barokni orkester Akademije in Ljubljana, Orchestra Rusconi conducted by D. Garegnani (in Pergolesi's Stabat Mater).

He recorded as soloist the Vespero delle Domeniche by Cavalli for Dynamic, the unpublished Messa a 5 voci by F. M. Zuccari (soon to be released by Urania Records) and the contemporary oratorio Franca da Vitalta composed and conducted by F. Perotti (to be released in 2019).

Booklet for Bassani: Affetti canori, cantate et ariette, Op. 6