Hyperion Records

Or che d'orrido Verno
composer
author of text

Recordings
'Porpora: Or sì m’avveggio, oh Amore' (CDA67621)
Porpora: Or sì m’avveggio, oh Amore
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Details
Movement 1. Sinfonia: [untitled]
Track 15 on CDA67621 [1'35] Please, someone, buy me …
Movement 2. Sinfonia: [untitled]
Track 16 on CDA67621 [1'02] Please, someone, buy me …
Movement 3. Recitative: Or che d'orrido Verno
Movement 4. Aria: Lungi dal ben che s'ama
Movement 5. Recitative: Pur fra tanta mia pena
Movement 6. Aria: Nocchier che mira

Or che d'orrido Verno
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Or che d’orrido Verno is among Porpora’s finest chamber cantatas. It cannot be securely dated, but may have been written when the composer was active in Naples or Venice (or perhaps even Dresden), between 1725 and 1730, or else in the late 1740s. The work features a two-section sinfonia (with no tempo marking) and assigns exceptionally brilliant roles to both the singer and the concertante flute. However, the demands on virtuoso technique do not overshadow the prominent, delicately handled echoes between voice, solo instrument and string accompaniment that characterize the writing (a typical trait of the composer, here illustrated in exemplary fashion in the sensual, poignant ‘Lungi dal ben che s’ama’). Indeed, refinement, subtle interplay between the parts, and highly intensive (at times obsessive) exploitation of the thematic material were among the distinctive features of Porpora’s output in general. These elements, combined with extremely rich melodic invention, a mastery of compositional technique, and a keen sense of theatre and dramatic pacing, marked him out for a successful career. Today, after centuries of neglect, all these characteristics surge from the pages of his scores with explosive force, showing how groundless are the widespread stereotypes which portray Porpora exclusively as a skilful purveyor of bravura arias for the use of his pupils. In the aesthetics of so profound and refined a musician, virtuosity was a means to an end: his requirement of an extremely high level of technique from performers was an instrument to enable him to obtain a seductive, spellbinding naturalness of style, necessary in its turn to create for the intellect and the senses a pleasure that would ‘move the passions’.

from notes by Stefano Aresi © 2008
English: Charles Johnston

Track-specific metadata
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Details for CDA67621 track 15
Movement 1, Sinfonia: [untitled]
Artists
ISRC
GB-AJY-08-62115
Duration
1'35
Recording date
1 October 2006
Recording venue
Oratorio di S Domenico, Pisa, Italy
Recording producer
Sigrid Lee
Recording engineer
Roberto Meo
Hyperion usage
  1. Porpora: Or sì m’avveggio, oh Amore (CDA67621)
    Disc 1 Track 15
    Release date: September 2008
    Please, someone, buy me …
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