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Home » Italian Composers » Vinci

Leonardo Vinci (c.1690-1730)


Operatic Twins & Musical Rivals: Two Settings of Artaserse (1730) by Robert Torre. Discourses in Music vol. 6 no. 1 (2006).


Vinci. Catone in Utica (Rome 1728). Decca 478 8194 (3 CDs, May 2015). Details. Booklet (pdf). Video. Review by Brian Robins. Riccardo Minasi, Il Pomo d'Oro. Cesare: Franco Fagioli, countertenor; Catone: Juan Sancho, tenor; Marzia: Valer Barna-Sabadus, countertenor; Fulvio: Martin Mitterrutzner, countertenor; Emilia: David DQ Lee, countertenor; Arbace: Max Emanuel Cenčić, countertenor. Perhaps the only actual link to ancient history, the suicide of Cato, happens in Vinci's setting of the Metastasio libretto, whereas Vivaldi's subsequent setting was revised to have a happy ending. (Alan Curtis's 2013 recording of the Vivaldi setting is the best recent Vivaldi opera recording.) Note that Pompey's widow is named Emilia and has no son in Metastasio's libretto, whereas she is named Cornelia and is the mother of Sesto Pompeo in Bussani's libretto to Guilio Cesare in Egitto. US | UK | FR | DE | CA | JP
Vinci. Alto Arias. Pan Classics PC 10297 (1 CD, February 2014). Details. Booklet (pdf). Filippo Mineccia, countertenor. Stefano Aresi, Stile Galante. The aria "Ti calpesto, oh crudo Amore" from Astianatte (Naples 1725) with two horns contains a musical theme I have only heard elsewhere in Handel's Water Music (London 1717). I wonder if this is a case of Vinci borrowing from Handel, or whether they both borrowed from some previous Italian source. The next aria on the disk, "Non meno risplende" from La contesa de' Numi (Rome 1729), contains a theme later used by Pergolesi in a familiar aria in Adriano in Siria. US | UK | FR | DE | CA | JP
Leonardo Vinci. Artaserse (Rome 1730). Virgin 50999 6028692 5 (3 CDs, September 2012). Booklet (pdf). Diego Fasolis, Concerto Köln. Artaserse: Philippe Jaroussky, countertenor; Mandane: Max Emanuel Cencic, countertenor; Arbace: Franco Fagioli, countertenor; Semira: Valer Barna-Sabadus, countertenor; Megabise: Yurly Mynenko, countertenor; Artabano: Daniel Behle, tenor. The production will go on tour to Nancy, Vienna, Lausanne, Luxembourg, Bilbao, Paris & Cologne in November-December 2012. Details. US | UK | FR | DE | CA | JP
Leonardo Vinci. Partenope (Rosmira fedele). (Venice 1725). Dynamic CDS 686 (2 CDs, June 2012; also to be released on DVD). Booklet (pdf). Details (pdf) / Italian/English libretto (pdf). Antonio Florio, I Turchini. Partenope: Sonia Prina, contralto; Arsace: Maria Ercolano, soprano; Rosmira: Maria Grazia Schiavo, soprano; Emilio: Eufemia Tufamo, mezzo-soprano; Armindo: Stefano Ferrari, tenor; Ormonte: Charles Dos Santos, baritone; Beltramme: Quiza Borja, baritone; Eurilla: Giuseppe de Vittorio, tenor. Videos include a "making of" documentary for Spanish TV. Both Brian Robins (in Early Music Review) and Maurizio Frigeni compare the Dynamic recording unfavorably with the available 2004 radio broadcast from Beaune, an outstanding performance and recording. Most sources, including Opera Today, incorrectly assert that Roberta Invernizzi sang Arsace at Beaune. As on the recording, Arsace was sung by Maria Ercolano. US | UK | FR | DE | CA | JP
Leonardo Vinci (1690-1730). Fileno - Soprano Cantatas. Pan Classics PC 10266 (1 CD, April 2012). Booklet (pdf). Emanuela Galli, soprano; Francesca Cassinari, soprano. Stefano Aresi, Stile Galante. Includes "Fille, tu parti", a cantata by Alessandro Scarlatti formerly attributed to Vinci. US | UK | FR | DE | CA | JP
Porpora, Vinci, Leo, Hasse, Pergolesi. Lava - Opera Arias from 18th Century Naples. dhm 88697541212 (1 CD, August 2009). Details / CD booklet (pdf)  / Video of "Manca solletica" from Leo's Demetrio. Claudio Osele, Le Musiche Nove. Simone Kermes, soprano. US | UK | FR | DE | CA | JP
Reissued on dhm 88697661232 (March, 2010) without the booklet: UK | FR | DE
Leonardo Vinci, Giuseppe Petrini, José de Nebra. Napoli / Madrid: Cantate e Intermezzi. Opus 111 / Naïve OP 30274 (1 CD, April 2007). Antonio Florio, Cappella de'Turchini. Roberta Invernizzi, soprano; Cristina Calzolari, contralto; Giuseppe De Vittorio, tenor; Giuseppe Naviglio, baritone. Erighetta e Don Chilone (Intermezzo 1726), Triste, Ausente, en esta selva (Spanish cantata for soprano), Cuando infeliz destino (Spanish cantata for alto), Adonde fugitivo (Spanish cantata for alto), Sinfonia. José de Nebra: Tempestad grande amigo (Fandango); Giuseppe Petrini: Graziello e Nella (Intermezzo in Neapolitan dialect). US | UK | FR | DE | CA | JP
Leonardo Vinci. Li Ziti 'ngalera. Opus 111 OPS 30-212/3 (2 CDs). (Treasures of Naples, vol. 8). Opera buffa. Antonio Florio, Cappella de' Turchini. Roberta Invernizzi, Emanuela Galli, Maria Ercolano, Roberta Andalò, Daniela del Monaco, Giuseppe de Vittorio, Rosario Totaro, Giuseppe Naviglio, Pietro Naviglio, Maria Collina. US | UK | DE | FR | CA | JP
Leonardo Vinci & Leonardo Leo. L'Opera Buffa Napoletana. Opus 111 OPS 30184 (1 CD 1997). Tesori di Napoli, Vol. 3. Roberta Invernizzi, soprano. Antonio Florio, Capella della Pietà de'Turchini. US | UK | DE | FR | CA | JP


Michael Talbot (ed). Vivaldi, 'Motezuma' and the Opera Seria: Essays on a Newly Discovered Work and Its Background. Brepols 2008. Details. 236 pages. Includes: Kurt Markstrom, "The Vivaldi-Vinci Interconnections, 1724-1726 and beyond: Implications for the late style of Vivaldi". US | UK | FR | DE | CA | JP
Kurt Sven Markstrom. The Operas of Leonardo Vinci, Napolitano. Pendragon Press 2007. Details. Opera Series No. 2. 394 pages. This is an exceptional and fascinating book that combines a biography of Vinci with detailed analysis of his operas and an overview of rapid changes in Italian opera in the 1720s. It is illustrated with contemporaneous caricatures of singers and composers, including a Ghezzi sketch of Vinci (apparently) towering over a diminutive Faustina Bordoni (p. 100). (Vinci had a reputation not unlike Stradella's and like Stradella may have been murdered.) The numerous musical examples include Handel borrowings such as the theme of "O God-like Youth" in Saul (p. 150) and arias in Vinci's Farnace (Rome 1724) influenced by Vivaldi including an aria for saltiero (p. 72), an instrument for which Vivaldi also composed an aria during the same season (Giustino, Rome 1724). US | UK | FR | DE | CA | JP
Gaetano Pitarresi (ed.) Leonardo Vinci e il suo tempo. Details. Iiriti Editore (2005). 627 pages. DE
Daniel Heartz. Music in European Capitals: The Galant Style, 1720-1780. 1078 pages. Norton, 2003. Review. US | UK | DE | FR | CA | JP
Reinhard Strohm. Essays on Handel and Italian Opera. Collection of Strohm's essays, some published in English for the first time. Cambridge University Press, 1985. Contents include: Leonardo Vinci's Didone abbandonata (Rome 1726); Metastasio's Alessandro nell'Indie and its earliest settings; Handel's pasticci. US | UK | FR | CA

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