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Reviewer: John
W. Barker
From the later
17th Century through the 18th, the vocal duet was the most popular
counterpart to the trio sonata in instrumental music. The solo cantata was,
of course, a widely cultivated form in itself (and sometime in duet form for
theatrical effects). But patrons, performers, and audiences could not get
enough of the more compact duets, for mostly high voices with continuo.
Italian texts set by Italian composers were the heart of the chamber duet
literature. A potent survey of the idiom is given here. There are 7 duets
(plus an aria): 3 by the acknowledged master of the form, Agostino Steffani
(1654-1728), and 2 each by Antonio Lotti (1666-1740) and Giovanni Bononcini
(1670- 1747). These works vary from two sections to six. Many alternate duet
sections with solo ones, sometimes reaching the scope of dialog cantatas.
Their music was obviously intended for experienced singers. There is a lot
of fine melodic writing here—I particularly admired Lotti’s duets. Sara
Mingardo is the “star” singer here, but she sings in only three of the
duets. She is also allowed the exceptional item here, an aria from an early
Venetian opera by the obscure Francesco Lucio (1628-58)—a lovely ciacona
that shows off her rich contralto artistry handsomely. There are seven other
singers: sopranos Lisa Castrignano, Giorgia Cinciripi, and Silvia Frigato;
mezzo-sopranos Loriana Castellano, Lea Desandre, and Lucia Napoli; contralto
Francesca Billotti. They do some duets with Mingardo but also with each
other. That makes for a nice variety of vocal colors, and all sing
beautifully. The recorded sound is also beautiful. The booklet carries
admirably thorough notes by the distinguished Michael Talbot and full texts
with translations. I just wish that one of Handel’s quite individual vocal
duets might have been included, for contrast from a non-Italian. But
certainly, for any collector of Baroque vocal music, this release is a
valuable introduction to, and sampler of, the chamber duet.
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