The Venetian composer Antonio Caldara was one of the most famous musicians of his day. In his operas, oratorios and cantatas he showcased the exceptional talents of his singers and the solo virtuosity of his instrumentalists, while also demonstrating an extraordinary wealth of musical ideas. Valer Sabadus and the ensemble nuono aspetto present a varied selection of Caldara's arias of irresistible beauty and fascination - six of them to be heard for the first time.
Charles Avison named Caldara along with Arcangelo Corelli, Alessandro Scarlatti and George Frideric Handel as the composers …
"… whose works have been thoroughly proved and have stood the never failing test of time." Charles Burney wrote in his famous History of Music "Caldara was one of the greatest professors both for the Church and the stage that Italy can boast" and "there is no composer of oratorios anterior to Handel of whose choruses I have any great expectations, except Caldara."
“Carmelite Vespers 1709” presents a reconstruction of musical performances in Rome in 1709, based on a new critical edition by Italian Handel expert Angela Romagnoli. In early 18th century-Rome the holiday of Madonna del Carmine was celebrated with a lavish musical pasticcio. Italian Early Music specialist Alessandro de Marchi, his Academia Montis Regalis and an excellent ensemble of solo vocalists present the reconstruction of such a service as it might have been performed in 1709 under the direction of Venetian master Antonio Caldara (1670–1736). The programme combines lesser-known but stunningly beautiful pieces by Caldara himself with famous motets by his predecessor Handel such as “Dixit Dominus” or “Laudate pueri”.
With Antonio Caldara’s 'Morte e sepoltura di Christo', released on Glossa just after a new album devoted to Vivaldi’s late violin concertos, Fabio Biondi returns to the Italian oratorio, another of his specialities. The Venetians Caldara and Vivaldi may have been contemporaries but their career paths led them in different directions, and Caldara was to spend much time working in Mantua and Rome before securing the position of vice-Kapellmeister for the Holy Roman Emperor Charles VI in Vienna.
In commemoration of the 400th anniversary of the death of Miguel de Cervantes, La Ritirata and Josetxu Obregon have created a program for Glossa sallying forth on the back of music composed by Antonio Caldara and inspired by El ingenioso hidalgo Don Quijote de la Manch. Antonio Caldara was neither the first nor the last composer to have his compositional ingenuity sparked off by Cervantes' timeless masterpiece. Interspersed between these vocal contributions are a series of instrumental ballets composed for these operas.
Early in 1709 Antonio Caldara became maestro di cappella to the Marchese Francesco Maria Ruspoli in Rome. If the appointment brought new stability to his personal life, it also inspired him to remarkable creative effort. The two cantatas recorded here afford only a brief glimpse into a veritable musical treasure chest, the legacy of the seven years he held sway over an array of entertainments given by one of Rome's most lavish patrons of the arts.