The "divertimento immaginario" offered here is just that: a group of Italian arias by André Campra, from around the turn of the 17th to the 18th century, assembled into a lighthearted tale of a little love triangle by the Italian historical-performance group La Risonanza and its leader-keyboardist, Fabio Bonizzoni. The names are redone, recitatives are added with text by Angela Romagnoli and idiomatic music by Bonizzoni himself, and the whole is interspersed with sonatas by Louis-Nicolas Clérambault. Annotator Barbara ...
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The "divertimento immaginario" offered here is just that: a group of Italian arias by André Campra, from around the turn of the 17th to the 18th century, assembled into a lighthearted tale of a little love triangle by the Italian historical-performance group La Risonanza and its leader-keyboardist, Fabio Bonizzoni. The names are redone, recitatives are added with text by Angela Romagnoli and idiomatic music by Bonizzoni himself, and the whole is interspersed with sonatas by Louis-Nicolas Clérambault. Annotator Barbara Nestola claims that Campra would have approved, and there is no reason to doubt her; appreciation of Italian opera in France did not begin with François Couperin but existed on the margins of official French style for several decades prior to that. Campra's arias were incorporated into French tragédies lyriques, circulated singly among enthusiasts, and generally written to fill a need even if the purity of the French style was officially maintained. So while there isn't direct evidence of...
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