It is during the first half of the 18th century, under King João V, that Lisbon becomes a modern cosmopolitan center, in great part due to the arrival of gold and diamonds from Brasil. The absolute monarch, who is a devout believer, is committed to representing his power through religion. The Royal Chapel is elevated to the statute of Patriarchal Church in 1716 and emulates the grandiosity of the Roman liturgical ceremonials. Music takes on an important role in this process and we witness the arrival of a great number of Italian musicians who go on to dominate the musical scene in the capital.

In its first recording, Real Câmara recreates the spirit of the original Portuguese court orchestra, bringing to life a forgotten repertoire written for performance in Lisbon, from the Divertimenti by Pietro Giorgio Avondano, the Genoese concertmaster of the orchestra, to opera arias by the Portuguese composer Francisco António de Almeida and by the Italian composers Rinaldo di Capua and Giovanni Bononcini.

Booklet: EN, FR, DE

Lyrics: IT, EN

“Sharp violins proclaim their jealous pangs and desperation, fury, frantic indignation, depths of pain, and height of passion, for the fair disdainful dame”. These words from John Dryden’s Song for St. Cecilia’s Day inspired Enrico Onofri to elaborate a programme focused on the violin and its ability to express such contrasting passions and moods. Imaginarium Ensemble temporarily disposed of its bass section and became a ‘sharp band’ of solo violins.

Telemann’s vast production without continuo proved to be ideal for this project, particularly the rare concertos for four violins – the heart of the programme – but also the duets, varied in style and remarkably expressive.

Booklet: EN, FR, DE, IT

Pergolesi’s Stabat Mater was extremely popular throughout Europe soon after it was composed in 1736. Countless printed and handwritten versions of this work, which was considered the stylistic ideal of sacred music in the 18^th century, can be found in libraries all over the world. There are five manuscript copies of the Stabat Mater in the archives of Málaga Cathedral. This recording presents a version performed when Juan Francés de Iribarren was chapel master there. He did not copy the work exactly, but created a revision with substantial changes.  Also included in the recording are some of Iribarren’s own works.

Booklet: EN, FR, ES

Lyrics: LAT/ES, EN

Vivaldi’s Concerti Ripieni are probably the most unusual works written by the Venetian composer. Some of these pieces, however, are particularly exceptional for various reasons, especially considering the artistic environment in early 18^th century Venice. This recording presents Vivaldi’s most brilliant and at the same time bizarre works from this genre. These compositional experiments are sometimes quite extreme and far ahead of their time, such as the enigmatic Concerto Conca, the solemn Sinfonia Al Santo Sepolcro, the avant-garde and at the same time archaic Concerto Alla Rustica. This recording is the first collaboration of the Academia Montis Regalis with Enrico Onofri as principal conductor.

Booklet: EN, FR, IT, DE

L’Orquesta Barroca de Sevilla explore un précieux répertoire lié à l’histoire de l’Andalousie. Sur cette nouvelle parution, intitulée Astro Nuevo, nous pouvons redécouvrir des œuvres de Pedro Rabassa (1683-1767). Fidèle partenaire musical de l’orchestre, le chef d’orchestre Enrico Onofri prouve une fois de plus qu’il peut faire revivre une musique complètement oubliée, comme si elle venait d’être composée pour l’orchestre. Le résultat est étincelant, précis et totalement convaincant. L’Orquesta Barroca de Sevilla est accompagné sur cet album par Julia Doyle (soprano) et Carlos Mena (counténor) en tant que solistes.

Booklet: EN

Lyrics: ES, EN

Booklet: EN, FR, IT, DE

25 years after his recording with il Giardino Armonico Enrico Onofri proposes us a new version in which he shows an unequalled maturity and artistic wisdom. Instead of making Vivaldi the main hero of the recording he wants to pay tribute Mother Nature, her saving power and the art inspired by it-through its sounds, images, smells, tastes and sensations. The music that accompanies “the Seasons” in this album falls within the scope of the Italian instrumental seventeenth century and offers us a collection of musical gems that lead the way to Vivaldi’s masterwork.

Booklet: FR, EN, DE, IT

Lyrics: FR, EN, DE

The musical styles of Europe always arrive a bit later in Spain, but with the avantage that they are transformed to full maturity. This album shows a unique version of how a symphony by Haydn was transformed for a performance in the Cahedral of Sevilla. But the real interest are the till yet unrecorded masterpieces by Antonio Ripa and Joseph Barrera. As always Enrico Onofri ensures a top performance with the great baroque Orchestra of Sevilla. 

Booklet: FR, EN, SP

Lyrics: FR, EN, SP

Juan Manuel De La Puente belongs to that long list of composers whose name and fame have been lost over time. Ordained as a young priest, he spent his entire life in the Cathedral of Jaen in Andalusia. It is there that the three hundred or so surviving works of the thousand he is said to have written are preserved, two-thirds of which are therefore lost. The recording by one of the best Spanish baroque ensembles of a few religious (Miserere) or paraliturgical (cantatas for soloists and small orchestra as well as a villancico) pieces makes it possible to discover real little musical gems. 

Booklet: EN, FR, SP

Lyrics: EN, FR, SP