Giovanni BONONCINI, Barbara ninfa ingrata Giovanni Bononcini, Barbara ninfa ingrata

Of the many contemporaries of Scarlatti that applied themselves to the solo cantata, one of the most prolific was the influential globe-trotter Giovanni Bononcini, author of 283 such works. During the first quarter of the 18th century, Bononcini's cantatas represent the dominant trend within the genre. His works display a sure and easy technique, and he was blessed with a genuine gift for melody. Bononcini's genius is considered to lie in the expression of tender and pathetic sentiments. Plaintive melodies, characteristically rich and gentle, are his personal trademark, and the defining feature of his dramatic works. And Charles Burney relates that Bononcini's recitatives were universally perceived as the best examples of their time, perfectly reflecting the spirit of the Italian language.

The ensemble L'YRIADE has set itself the task of uncovering a new repertoire, one far removed from grandiose baroque opera productions, with the aim of exploring works of a more intimate nature and spirit, where the relationship between text and music reflects the link between performers and public. Rhetoric is thus used for musical and expressive ends, with the voices serving as instruments, and the instruments as voices. Each member of L'Yriade comes to the group from a different origin, and brings the wealth of their own personality and curiosity with them. They have agreed to pursue a dream of a new listening, which would lead to an aesthetic search about the effect of sonority and pronunciation on musical expression. Above all, L'Yriade delights in joining their audiences in those moments of beauty when hearing and music become one, and silence immortalises their communion.

Léonor de Recondo, Birgit Goris, violins
Elisa Joglar, cello
Isabelle Sauveur, harpsichord
André Henrich, theorbo

Nicole van Bruggen   Following his studies at both the University and Conservatorium of Lille, CYRIL AUVITY made his professional debut under William Christie at the Festival d'Aix-en-Provence in 2000, as Telemaco in Monterverdi's Il Ritorno d'Ulisse in patria. He specialised in early music and has worked with many well-known conductors and musical directors in the field, such as Christopher Hogwood, Marc Minkowski, Gabriel Garrido, and Antonio Florio. He has participated in performances of Lully's Persée, and Purcell's Fairy Queen under the direction of Christophe Rousset, and as Actéon in Charpentier's opera of the same name under Emmanuelle Haïm. He furthered his work with William Christie and Les Arts Florissants in Charpentier's David et Jonathas, Lully's Atys, and the Monteverdi trilogy at the Madrid opera. He appeared in the title-role of Rameau's Pygmalion with Hervé Niquet, and Destouches' Callirhoé in Montpellier, and performed with Ottavio Dantone, Jordi Savall and Emmanuel Krivine, among others. L'Yriade and Cyril Auvity performed Purcell's Dido and Aeneas at the Montpellier opera in a staging by Jean-Paul Scarpitta. It was also with Scarpitta that he made his debut as Don Ottavio in Mozart's Don Giovanni, as well as Tamino in The Magic Flute. Cyril Auvity has further appeared in three productions of Lully operas: Thésée, Amadis (in the title role) and Bellérophon (also in the title role). He has made recordings for various labels, including Erato, Naïve, EMI/Virgin and Zig-Zag Territoires, for whom he released a first CD, Orphée, with L'Yriade.

Sinfonia nona op. 4   Sinfonia duodecima op. 4
1. Adagio 14. Grave
2. Allegro 15. Allegro
3. Grave   16. Largo — [-]  
4. Vivace   17. Grave — Presto  
    18. Grave — Vivace  

Quando parli

  19. Grave  
5. Aria: Quando parli 20. Allegro  
6. Recitativo: Ma la mia morte      
7. Aria: Son contento di provare Alle sue pene intorno  
8. Recitativo — Arioso: E dolce il mio martire 21. Recitativo — Arioso: Alle sue pene intorno
    22. Aria: Chi mi dà qualche saetta

Barbara ninfa ingrata

  23. Recitativo: Sì, sì contro Cupido
9. Preludio 24. Aria: Chi la piglia con amore
10. Recitativo: Barbara ninfa ingrata    
11. Aria: Era meglio lasciarmi morire Ecco Dorinda il giorno  
12. Recitativo: Veglio senza riposo   25. Preludio
13. Aria: Se tanti miei dolori 26. Recitativo: Ecco Dorinda il giorno
    27. Aria: Lungi da te ben mio
    28. Recitativo: Sì sì vago mio bene  
    29. Aria: Navicella che lunge dal porto
    30. Recitativo — Arioso: Mà quale entro il mio seno  
    31. Aria: S'io non t'amassi tanto