In 1729, the nobleman and poet Annibale Marchese (1686–1753) published “Tragedie Cristiane,” a remarkable collection of ten Italian plays. Influenced by Racine, Corneille, Voltaire, and the classical tradition, these innovative plays are deeply rooted in Jesuit theatrical practice. To realise his vision, Marchese recruited ten of the most celebrated composers of his time—all masters of the so-called Neapolitan School. Their strophic arias, often accompanied by obbligato harpsichord, reflect each composer’s individual style. Complementing them are previously unknown instrumental dances.

For centuries the four charities, the Ospedali Grandi, played a key role in the welfare system of the Venetian Republic by providing homes and support to a variety of needy people. For the purpose of enriching the liturgical service at their churches, these institutions developed musical training which provided marketable skills for some of their residents. Among the musical luminaries associated with the Ospedali was the celebrated Neapolitan composer Nicola Porpora (1686-1768) who spent a part of his career working at three of the four charities –  the Incurabili between 1729 and 1738; the Pietà between 1742 – 1743; and at the Derelitti – also known as Ospedaletto – between 1744 (actually 1742) and 1747. Porpora’s tenure at the Ospedaletto marked a significant moment in the history of the institution. The composer was considered a harbinger of a new aesthetic and a didactic turn toward modernity. Alongside Porpora, the main protagonists of this stylistic revolution were some of the most brilliant Figlie di Coro. Among them, Angiola Moro (dimuitively called Anzoletta), an alto for whom the composer crafted some of the most challenging solo pages composed during his tenure at the Ospedaletto. 
The recording includes 3 pieces written for Anzola Moro by Porpora (2 motets and a Salve regina) and the celebrated Cello Concerto in G major by the Neapolitan composer.
This recording is an outgrowth of musicological research seeking new insights on historically informed performance practices based upon the acoustics of the Ospedaletto in Venice as part of the ‘Sound, Space, and the Aesthetics of the Sublime’ project, housed at Stanford University and supported by the Templeton Religion Trust’s ‘Art Seeking Understanding Initiative’.

Luigi Marchesi (1754-1829), soprano castrato, was a leading figure in the Italian musical life of his time. Mainly remembered as an extraordinary opera singer famous for his vocal recklessness, he became a pivotal figure in the development of new dramaturgical forms in opera seria. From a socio-historical perspective, moreover, his activity as a philanthropist involved in the charity life of the city of Milan was anything but secondary, as was the fame he gained among patriots for his openly anti-French positions during Napoleon’s invasion of northern Italy in 1796. Marchesi’s career spanned almost forty years as favorite performer of operas by composers such as Anfossi, Sarti, Zingarelli, Mayr, Cimarosa, Cherubini, Pugnani, Martín y Soler and Mysliveček. However, music history books rarely mention his activity as a composer. We cannot blame them: composing was in fact a marginal experience in the castrato’s artistic life, even if it led to the creation of two noteworthy collections, the Ariette op. 1 and op. 2. The recording offers the first world (and complete) recording of the two collections sung by Francesca Cassinari, and some instrumental pieces by musicians close to Marchesi during his activity in London. 

The “Six Latin duets for the Passion of Our Lord Jesus Christ” were composed by Nicola Antonio Porpora for the Saxon court in 1754. Clearly different from the Protestant Passions, on the other hand they also show no parallels to the Italian oratorios on the Passion of Christ. Porpora used them to demonstrate his masterful skills in the world of conterpoint and expressivity. Soloists: Emanuela Galli, Francesca Cassinari, Marina De Liso, Fulvio Bettini. The recording includes a touching Miserere by anon., and two instrumental fugues.

Guillaume Dufay’s monumental motet, Nuper rosarum flores was written for the consecration of Florence’s cathedral Santa Maria del Fiore on March 25th, 1436. This recording comprises two tracks. Track 1 is Stile Galante’s studio recording of the motet. Track 2 uses acoustical measurements, 3D imaging, and acoustic modeling methods to present a virtual acoustic rendering of the work reanimating how it sounded at the consecration in Santa Maria del Fiore. This convergence of science and humanities research is part of ‘Sound, Space, and Sensing the Unfathomable’, a research project housed at Stanford University and supported by the Templeton Religion Trust’s ‘Art Seeking Understanding Initiative’. Together with Stile Galante, Stanford’s team is reimagining how music was performed and heard in the spaces for which they were originally created.