Alessandro Stradella (1639-1682)
San Giovanni Crisostomo, oratorio en 2 parties

Francesca Cassinari, soprano
Renato Dolcini, baryton
Alessio Tosi, ténor
Carlo Vistoli, contre-ténor
Arianna Lanci, soprano
Christine Marsoner, alto
Harmonices Mundi

Alessandro Palmeri, violoncelle
Maurizio Pianteli, archiluth
Marco Facchin, orgue
Davide Nava, violon
Claudio Astronio, clavecin, direction

L’exhumation des oratorios de Stradella (il en subsiste six sur les huit composés) est source d’effervescence pour les amateurs de musique baroque. "San Giovanni Crisostomo", oratorio pour cinq voix et basse continue, allie dramatisme et méditation théologique. Tiré d’un livret anonyme, l’histoire s’appuie sur une inimitié entre Crisostomo, évêque de Constantinople déchu par l’impératrice Eudoxie (Eudosia dans l’œuvre composée en italien) qui décide de son exil. La dramaturgie se tisse donc autour du conflit entre l’évêque, pétri d’humilité, et la souveraine narcissique et hautaine, alliée à Théophile (Teofilo, dans le livret) patriarche d’Alexandrie et rival de Crisostome. Dans la seconde partie, de l’oratorio, l’envoyé du Pape, soutient Crisostomo dans sa lutte contre l’arrogance des diginitaires. C’est lorsque Giovanni exhorte les puissants à l’humilité que la réponse de l’Impératrice est sans appel : Giovanni sera contraint à l’exil. L’écriture concise de Stradella fait se succéder arias, duos et trios, alternant airs brefs et intenses et récitatifs expressifs. La version qu’en donnent Claudio Astorio, ses solistes et son ensemble musical, d’une durée de presque 66 minutes, n’est pas dénuée d’intensité dramatique, loin de là ! (Karim Douedar)

Having lived a short, dramatic life worthy of its own literary account (a highly dramatised novel of his life was produced in 1844 recounting his many scandals and sensational murder), San Giovanni Crisostomo was one of several sacred oratorios to emerge from Alessandro Stradella’s surprisingly large output. It tells of the conflict between the rapacious, tyrannical and yet conflicted Queen Eudosia of Byzantium, and John Chrysostom, the dissident Archbishop of Constantinople, known for his eloquent rebuttals of corruption and wealth. Through this work Stradella and the unknown librettist explore the greater conflict between secular and religious powers, and engage the listener in sophisticated moral and political dilemmas. Perhaps his best-known work, Stradella’s score makes innovative use of intimate resources; it calls only for a simple basso continuo to accompany the singers, and demonstrates his signature flair for recognising dramatic contours of the text in his vocal works along with his rhythmic fluidity, striking harmonic invention and sensitively designed characterisation of its main roles. Having already tackled the likes of Bach, Albinoni and Vivaldi on previous releases, Baroque aficionados Harmonices Mundi bring their learned interpretations to the recording and breathe new life to Stradella’s remarkable work, while showcasing the copious talents of several leading early music specialists. This exciting new recording is based on a critical edition by Colin Timms, academic and expert in early music.