Antonio Florio, Cappella della Pietà de’ Turchini - Carlo Agostino Badia: La Fuga in Egitto (1999)
Antonio Florio, Cappella della Pietà de’ Turchini - Carlo Agostino Badia: La Fuga in Egitto (1999)
EAC | FLAC | Image (Cue & Log) ~ 274 Mb | Total time: 60:28 | Scans included
Classical | Label: ORF | # ORF CD 236 | Recorded: 1996
EAC | FLAC | Image (Cue & Log) ~ 274 Mb | Total time: 60:28 | Scans included
Classical | Label: ORF | # ORF CD 236 | Recorded: 1996
One of the causes of the ‘crisis’ in the music industry is the fact that too many works are recorded over and over again. There are innumerable CDs with Vivaldi’s Four Seasons or Pergolesi’s Stabat mater. But once in a while someone has the imagination to perform and record a completely unknown piece by a composer hardly anybody has ever heard about.
Antonio Florio is one of those creative minds who concentrates on little-known repertoire. In the last decade or so he has explored the musical past of his city, Naples. This time he presents a composition by an Italian who, for the largest part of his life, worked in Vienna. Badia was born in Verona and went to Innsbruck at a young age. There the step-sister of emperor Leopold I, Eleonore Maria, had her own court. Badia became her court composer and wrote oratorios to be performed during Holy Week from 1691 to 1693. He also composed an opera, performed in 1692. In 1694 Eleonore Maria moved to Vienna. There Badia became court composer at the court of Leopold I himself, alongside his fellow Italian Antonio Draghi. And in the following years he got some colleagues who are still well known and respected: Fux, Torelli and Giovanni Bononcini.
During his years in Vienna Badia composed oratorios for the Ursulines, who on the feast day of their patroness, St Ursula (October 21), offered the emperor a musical performance. Badia was also sent to Rome to study, married a singer, composed an oratorio for Venice and an opera for the court at Dresden. In 1703 he was given the libretto of the oratorio ‘La Fuga in Egitto del Patriarca S. Giuseppe con Giesù e Maria’, composed by Giovanni Maria Casini, organist at Florence, and performed there in 1697. The emperor himself had a copy of the libretto and since he liked it, he handed it over to Badia. In 1703 the Ursulines sang the work before the imperial couple who had come to visit their convent on St Ursula’s Day.
The scoring is sober: five solo voices, which also sing the ‘Coro’ sections, with two violins, viola and basso continuo. Anyone familiar with the dramatic vocal works of the baroque period will not be surprised by the predominance of high voices. On the one hand this reflects the aesthetic ideals of the baroque, on the other hand it met the popular preference for virtuoso castratos singing the main roles in operas and oratorios. But in this particular case it has nothing to do with the fascination for castratos. There was a simple and very practical reason: all the roles were supposed to be sung by the nuns themselves. The only lower part is that of San Giuseppe, who is a tenor, but even that role was probably sung by a nun. It is known from women’s convents in Italy that some women were able to sing some tenor parts.
Strictly speaking this work is anonymous: the manuscript doesn’t give a date or the name of the composer. But since there is a copy of the libretto of a performance by the Ursulines in 1703 with Badia’s name on it, the attribution of the oratorio to him seems to be reasonable.
The libretto is based upon the story of Joseph and Mary, urged by the angel to flee to Egypt to escape the slaughter of little children in Bethlehem by king Herod, as told in the gospel according to St Matthew (2:13-18). The story itself is dramatized, as is the case with so many biblical oratorios of the time. These are in fact religious operas, stylistically not very different from real operas. In this case, though, there is little interaction between the protagonists. Short recitatives are mostly followed by an aria, most of them da capo arias, but some relatively short (less than two minutes). The most dramatic moment is in the second part, when Herod decides – against the advice of his Counsellor (Consigliere) - to slaughter all recently born children, hoping to kill the newborn King (Jesus) with them.
There is nothing wrong with the music, though. There is a lot of expression, both in the arias and the recitatives. The fugue does appear in the score on a regular basis, probably inspired by the title of the work.
There is (almost) nothing wrong with the performance either. Most singers are well-known representatives of the Italian baroque scene who regularly work with Antonio Florio. The casting is very good. I was in particular impressed by Daniela Del Monaco, whose low voice – going down well into the tenor range – is supremely qualified for the role of Herod, the villain of the piece.
I am very happy with the rhythmically free way the recitatives are dealt with, which gives the impression that the singers are really ‘acting’ the roles they sing. The arias are also done very well, with nice ornamentation. In the ‘Coro’ sections, sung by the soloists, the blending is excellent.
All the singers being Italian, pronunciation is no problem. The only reservation I have in this regard is that the ‘r’ is a little too strongly projected by some singers (in particular Emanuela Galli and Rosario Totaro), whereas the preceding vowels are sometimes too short and lack clarity.
The ensemble gives the singers excellent support and their playing is lively and technically assured. The fact that this is a live recording results in some minor technical shortcomings, like a lack of synchronisation here and there, but on the whole this minor defect is hardly worth mentioning.
In short: this is a very good recording of a nice work, which I wholeheartedly recommend, in particular to the inquisitive among us.–Johan van Veen
Performer:
Maria Vergine - Roberta Invernizzi, soprano
San Giuseppe - Rosario Totaro, tenor
Angelo - Emanuela Galli, soprano
Erode - Daniela Del Monaco, alto
Consigliere - Roberta Andalo, soprano
Cappella della Pietà de’ Turchini
Antonio Florio, conductor
Tracklist:
Carlo Agostino Badia (c1672-1738)
La Fuga in Egitto, Oratorio à 5 voci con istromenti
PRIMA PARTE
01. Sinfonia
02. Recitativo: O germe di Davidde (Angelo)
03. Aria: Pensieri molesti (San Giuseppe)
04. Recitativo: Ah! che gli occhi non ponno (San Giuseppe)
05. Aria: Deh, prendi, sù, sù (Angelo)
06. Recitativo: Medita l'empio Erode (Angelo, San Giuseppe)
07. Recitativo: Signor, come turbato (Consigliero)
08. Aria: Più ch'e grande un monaca tra'i Regi (Consigliero)
09. Recitativo: Amico, il ver tù narri (Erode)
10. Duetto: Un vano sospetto (Consigliero, Erode)
11. Recitativo: O là! signor? (Erode, Consigliero)
12. Aria: In che mai v'affesi a stelle (Erode)
13. Recitativo: Trema, paventa, e gela (Consigliero)
14. Aria: Oh deplorabile (Consigliero)
15. Recitativo: Né devo almeno, oh Dio! (San Giuseppe, Angelo)
16. Aria: Trionfar non potrà mai (Angelo)
17. Recitativo: Mà per sentiero ignoto (San Giuseppe, Angelo)
18. Duetto: Addio, Betlemme (Maria Vergine, San Giuseppe)
19. Recitativo: S'il tuo figlio, ò mio Dio (San Giuseppe)
20. Aria: O divino pargoletto (Maria Vergine)
SECONDA PARTE
21. Coro а 4: Disgombra il timore
22. Recitativo: Dunque, le mie speranze (Erode)
23. Aria: All'armi, all'armi sù sù! (Erode)
24. Recitativo: Già bagnata dal Nilo (Angelo)
25. Aria: Chi col Dio de la gloria si stà (Angelo)
26. Recitativo: Dimmi, celeste spirto (San Giuseppe, Angelo)
27. Aria: Argenti liquidi (San Giuseppe)
28. Recitativo: Sposa, chi non ammira (San Giuseppe)
29. Aria: Grati, campi, care selve (Maria Vergine)
30. Duetto: Dell'alta Menfi (Maria Vergine, San Giuseppe)
31. Recitativo: Mà, se ne'miei confini (Erode, Consigliero)
32. Aria: Ah, tiranna Maestà! (Consigliero)
33. Recitativo: Di qual gloria, o mio Dio (Maria Vergine)
34. Aria: Angeliche menti (Maria Vergine)
35. Recitativo: Ei con braccio sovrano (Maria Vergine)
36. Duetto: Miei spirti, gioite (Maria Vergine, San Giuseppe)
37. Recitativo: Qual sublime favore (Maria Vergine)
38. Recitativo: Eccone giunti al fine (San Giuseppe, Angelo)
39. Aria: Così schernito (Angelo)
40. Recitativo: Oh qual! nella sua Reggia (Angelo)
41. A 3: Alme belle
42. Coro: Se fuggi l'eterno amore
Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 18. February 2024, 15:54
Antonio Florio / Badia . La Fuga in Egitto . Florio
Used drive : HL-DT-STDVD+-RW GT10N Adapter: 1 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 102
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -6 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "COMMENT=%comment%" -T "BAND=%albuminterpret%" -T "ALBUMARTIST=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%–tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" %hascover%–picture="%coverfile%"%hascover% %source% -o %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 2:44.16 | 0 | 12315
2 | 2:44.16 | 0:30.10 | 12316 | 14575
3 | 3:14.26 | 3:25.04 | 14576 | 29954
4 | 6:39.30 | 0:15.59 | 29955 | 31138
5 | 6:55.14 | 1:59.56 | 31139 | 40119
6 | 8:54.70 | 0:38.06 | 40120 | 42975
7 | 9:33.01 | 0:16.36 | 42976 | 44211
8 | 9:49.37 | 3:06.47 | 44212 | 58208
9 | 12:56.09 | 0:24.29 | 58209 | 60037
10 | 13:20.38 | 2:50.18 | 60038 | 72805
11 | 16:10.56 | 0:32.05 | 72806 | 75210
12 | 16:42.61 | 3:33.67 | 75211 | 91252
13 | 20:16.53 | 0:18.15 | 91253 | 92617
14 | 20:34.68 | 2:08.20 | 92618 | 102237
15 | 22:43.13 | 0:40.63 | 102238 | 105300
16 | 23:24.01 | 3:27.57 | 105301 | 120882
17 | 26:51.58 | 0:24.57 | 120883 | 122739
18 | 27:16.40 | 0:39.16 | 122740 | 125680
19 | 27:55.56 | 0:18.24 | 125681 | 127054
20 | 28:14.05 | 4:13.61 | 127055 | 146090
21 | 32:27.66 | 2:16.07 | 146091 | 156297
22 | 34:43.73 | 0:37.59 | 156298 | 159131
23 | 35:21.57 | 1:10.71 | 159132 | 164452
24 | 36:32.53 | 0:37.49 | 164453 | 167276
25 | 37:10.27 | 3:10.18 | 167277 | 181544
26 | 40:20.45 | 0:46.27 | 181545 | 185021
27 | 41:06.72 | 1:28.09 | 185022 | 191630
28 | 42:35.06 | 0:38.32 | 191631 | 194512
29 | 43:13.38 | 2:11.30 | 194513 | 204367
30 | 45:24.68 | 1:17.63 | 204368 | 210205
31 | 46:42.56 | 1:44.71 | 210206 | 218076
32 | 48:27.52 | 1:31.17 | 218077 | 224918
33 | 49:58.69 | 0:16.65 | 224919 | 226183
34 | 50:15.59 | 1:37.38 | 226184 | 233496
35 | 51:53.22 | 0:20.38 | 233497 | 235034
36 | 52:13.60 | 1:51.49 | 235035 | 243408
37 | 54:05.34 | 1:01.13 | 243409 | 247996
38 | 55:06.47 | 0:29.72 | 247997 | 250243
39 | 55:36.44 | 0:22.52 | 250244 | 251945
40 | 55:59.21 | 0:40.04 | 251946 | 254949
41 | 56:39.25 | 2:04.49 | 254950 | 264298
42 | 58:43.74 | 1:44.16 | 264299 | 272114
Range status and errors
Selected range
Filename C:\_RIPs\Badia . La Fuga in Egitto . Florio\Badia-FugaEgitto-Florio.wav
Peak level 100.0 %
Extraction speed 1.9 X
Range quality 100.0 %
Test CRC C84B8D7B
Copy CRC C84B8D7B
Copy OK
No errors occurred
AccurateRip summary
Track 1 accurately ripped (confidence 1) [560D2C2A] (AR v1)
Track 2 accurately ripped (confidence 1) [3F38775D] (AR v1)
Track 3 accurately ripped (confidence 1) [8182222E] (AR v1)
Track 4 accurately ripped (confidence 1) [15314BAA] (AR v1)
Track 5 accurately ripped (confidence 1) [9224829F] (AR v1)
Track 6 accurately ripped (confidence 1) [8FFAB7A6] (AR v1)
Track 7 accurately ripped (confidence 1) [410AC994] (AR v1)
Track 8 accurately ripped (confidence 1) [07B2F15F] (AR v1)
Track 9 accurately ripped (confidence 1) [0A646E54] (AR v1)
Track 10 accurately ripped (confidence 1) [F209C7DA] (AR v1)
Track 11 accurately ripped (confidence 1) [7E958208] (AR v1)
Track 12 accurately ripped (confidence 1) [1A799E42] (AR v1)
Track 13 accurately ripped (confidence 1) [F5FA1255] (AR v1)
Track 14 accurately ripped (confidence 1) [2669C560] (AR v1)
Track 15 accurately ripped (confidence 1) [EB63B788] (AR v1)
Track 16 accurately ripped (confidence 1) [44688721] (AR v1)
Track 17 accurately ripped (confidence 1) [6B19638D] (AR v1)
Track 18 accurately ripped (confidence 1) [5AC6783F] (AR v1)
Track 19 accurately ripped (confidence 1) [45AC0496] (AR v1)
Track 20 accurately ripped (confidence 1) [F47D8B2C] (AR v1)
Track 21 accurately ripped (confidence 1) [9083B451] (AR v1)
Track 22 accurately ripped (confidence 1) [49DE8247] (AR v1)
Track 23 accurately ripped (confidence 1) [B84A9EFB] (AR v1)
Track 24 accurately ripped (confidence 1) [6D1577C3] (AR v1)
Track 25 accurately ripped (confidence 1) [C0DEA94F] (AR v1)
Track 26 accurately ripped (confidence 1) [DC202791] (AR v1)
Track 27 accurately ripped (confidence 1) [0DEFBC12] (AR v1)
Track 28 accurately ripped (confidence 1) [9ECBD0B7] (AR v1)
Track 29 accurately ripped (confidence 1) [1BF71B5B] (AR v1)
Track 30 accurately ripped (confidence 1) [478AF7EF] (AR v1)
Track 31 accurately ripped (confidence 1) [94B7CAAE] (AR v1)
Track 32 accurately ripped (confidence 1) [0779925E] (AR v1)
Track 33 accurately ripped (confidence 1) [549299DD] (AR v1)
Track 34 accurately ripped (confidence 1) [8E8F99B0] (AR v1)
Track 35 accurately ripped (confidence 1) [AF9A1FBD] (AR v1)
Track 36 accurately ripped (confidence 1) [7C76502A] (AR v1)
Track 37 accurately ripped (confidence 1) [1A5ECA7E] (AR v1)
Track 38 accurately ripped (confidence 1) [81D9451D] (AR v1)
Track 39 accurately ripped (confidence 1) [39FCC1F0] (AR v1)
Track 40 accurately ripped (confidence 1) [A05608BA] (AR v1)
Track 41 accurately ripped (confidence 1) [D6D913A7] (AR v1)
Track 42 accurately ripped (confidence 1) [EA61A1D4] (AR v1)
All tracks accurately ripped
End of status report
–– CUETools DB Plugin V2.1.6
[CTDB TOCID: 27IP3c1mN.wHW5OcoRyQJgln0hw-] disk not present in database
Submit result: 27IP3c1mN.wHW5OcoRyQJgln0hw- has been uploaded
==== Log checksum 63711B46C8E8F82A5AF3860BBDBBB9DD7012B26AF2CF60953B6196E141DB00D9 ====
Antonio Florio, Cappella della Pietà de’ Turchini - Carlo Agostino Badia: La Fuga in Egitto (1999)
Thanks to the original releaser