For those unaware, among the works of the Red Priest that were absolutely unknown until the end of the 20th century, and which the naïve label has revealed with great perseverance for almost twenty-five years, are the works intended for the stage.

This 3CD box set is dedicated to Arsilda, the twentieth of the twenty-one operas by the Venetian preserved at the National Library of Turin.

Andrea Marcon, a great specialist in the work of the Red Priest - as revealed by extraordinary recordings with the violinist Giuliano Carmignola in the 2000s - immerses his musicians of La Cetra Basel and his seven singers in an ocean of expressions.

In Marcon’s lively and fluid gesture, the composer’s theatrical gift bursts forth once again and is surrounded by a strangely discreet poetry. Perhaps an echo of the heady mystery of Venice.

Created in October 1716 at the Teatro Sant’Angelo in Venice, the opera features Arsilda, the queen of an ancient region of northern Anatolia, promised to Tamese, prince, who had just become king of Cilicia, a neighboring region. Barzane, king of Lydia, another neighboring region, has fallen in love with Arsilda, but is secretly engaged to Tamese’s twin sister Lisea.

Slightly chaotic, the story takes place at the beginning of our era in Ama (modern days Tarsus). With its seven different roles, harmoniously balanced despite the predominance of Lisea, this musical drama is similar to a masquerade, full of disguises and games on identities - Lisea plays the role of her brother Tamese for two whole acts.

The majestically sculpted box set opens on Arsilda, RV 700, Sinfonia - and the strident Allegro, the sweeping Andante and the downright happily playful Presto; and then we are into Arsilda, RV 700, Act I, Scene 1 - which begins with the stern Recitativo “Questo, o populi, è il giorno” (Cisardo), the triumphantly regal Coro “Tutto il Regno in lieta gara” (Il Popolo), the impassioned Recitativo “Figli, non men che miei vassalli” (Lisea) and then comes the emboldened Recitativo “Questa, o fidi è mia sposa” (Lisea, Nicandro, Mirinda, Cisardo, Arsilda), closing on the delightful dance floor swirls and twirls of Aria “L’esperto nocchiero” (Cisardo).

Along next is Arsilda, RV 700, Act I, Scene 2 - which opens on the harmonically cultured Recitativo “Sposa. A che tal mi chiami” (Lisea, Arsilda, Nicandro, Mirinda), ending on the formidable Aria “Del goder la bella speme” (Arsilda); and then we get Arsilda, RV 700, Act I, Scene 3 - which begins on the forthright Recitativo “Sol di Bitinia il Prence” (Lisea, Nicandro) and itself concludes on the prosperous Aria “Col piacer della mia fede” (Nicandro); and then comes Arsilda, RV 700, Act I, Scene 4 - the fearless Recitativo “Partano i servi” (Lisea, Mirinda) and the dazzling Aria “Fingi d’aver un cor” (Lisea).

Then we are brought forth Arsilda, RV 700, Act I, Scene 5 - which opens on the luxuriant Recitativo “Dunque questo che amor” (Mirinda) and ends on a sense of royalty threaded throughout Aria “Non m’è caro amar penando” (Mirinda); and next is Arsilda, RV 700, Act I, Scene 6 - opening on the strongly heartfelt Recitativo “Del sotterraneo loco” (Barzane), closing on the flighty fare of Aria “Sempre piace goder il suo bene” (Barzane); and we next get brought forth Arsilda, RV 700, Act I, Scene 7 - and the sterner imposed Recitativo “D’Ama la reggia è questa” (Tamese) along with the veritably cinematic Aria “La tiranna avversa sorte” (Tamese).

Then we get delivered the delicately fused wonderment within Vivaldi: Arsilda, RV 700, Act I, Scene 8: Recitativo e Arioso “So ben’io qual pena sia” (Arsilda); the robust Vivaldi: Arsilda, RV 700, Act I, Scene 9: Recitativo “Ecco l’ingrata” (Barzane, Arsilda, Tamese); then Arsilda, RV 700, Act I, Scene 10 - which begins on the sweeping Recitativo “Scoperto il tradimento” (Cisardo, Barzane) and culminates on the infectious Aria “L’esser vinto non son le mie pene” (Barzane); then we get Arsilda, RV 700, Act I, Scene 11 - the harmonic Recitativo “Tutto al tuo braccio” (Arsilda, Tamese) and the charged Aria “Perché veggio nel tuo volto” (Arsilda).

Up next is Arsilda, RV 700, Act I, Scene 12 - which begins on the beautifully flowing Recitativo “Dunque il cultor degl’orti” (Lisea, Cisardo) and the resounding Coro “Amoretti, vezzosetti che le fiamme” (Soldati, Ministri), the six second Recitativo "Prendi signor” (Cisardo), the responsive Recitativo “O dell’adusta Lenno” (Lisea), closing on the endearing Recitativo “Cisardo, or già che il sacro rito” (Lisea, Cisardo); and then comes the formidable Vivaldi: Arsilda, RV 700, Act I, Scene 13: Recitativo “Io se tu vuoi, Regina” (Nicandro, Lisea); and Arsilda, RV 700, Act I, Scene 14, which first gives us the impassioned Recitativo “Tu Mirinda quai voti” (Lisea, Mirinda) and then the simply blooming Aria “Porta amor una tal face” (Lisea).

Then we get Arsilda, RV 700, Act I, Scene 15 - which opens on the lonesome yearn sensed within Recitativo “Benché d’amor le stravaganze intesi” (Mirinda), and ends on the delicate swirls and twirls within Aria “Io son quel gelsomino” (Mirinda); and then Arsilda, RV 700, Act II, Scene 1 is brought forth - and first the venturesome Recitativo “Il pastorel, che raffrenò l’ardire” (Mirinda, Lisea) and then the all-encompassing Aria “Un certo non so che” (Mirinda); with Arsilda, RV 700, Act II, Scene 2 along next - beginning with the strident Recitativo “State lungi soldati” (Lisea, Barzane) and ending on the regal Aria “Ah non so se quel ch’io sento” (Barzane); before Arsilda, RV 700, Act II, Scene 3 is upon us - and the compelling Recitativo “Arsilda ecco ne vien” (Lisea, Arsilda, Tamese) is itself backed by the flourishing beauty within Aria “Va superbo” (Tamese).

Arsilda, RV 700, Act II, Scene 4 is along next and opens on the vigorous Recitativo “Del pastor la sembianza” (Lisea, Arsilda), closing on the free flowing Aria “Se un cor soffrir saprà” (Lisea); and then comes Vivaldi: Arsilda, RV 700, Act II, Scene 5 - opening on the luxuriant Recitativo “Sì che un tiranno sposo” (Arsilda), ending on the emphatically charged Aria “Precipizio è del mio petto” (Arsilda); and we next get Arsilda, RV 700, Act II, Scene 6 - opening on the triumphant Coro “Su alla caccia si gridi, alla Caccia” (Cacciatori), the dainty Arietta “D’una cervetta” (Lisea), the shimmering Duetto “Già il prato” (Mirinda, Nicandro), and then we get the imposing Recitativo “Ma per tua mano” (Lisea, Nicandro), the atmopsheric Arietta “Sù svegliatevi augelletti” (Arsilda), the foremost “Di questi boschi” (Cisardo, Tamese, Mirinda, Arsilda, Lisea, Cacciatori), the twinkling Recitativo “Di giovanne cervetta” (Nicandro, Lisea), closing on the emboldened Coro “Sù a la caccia si gridi” (Cacciatori, Lisea, Arsilda, Tamese, Mirinda, Nicandro, Cisardo).

Up next is the shiningly ambient Arsilda, RV 700, Act II, Scene 7: Recitativo “Al geloso amor mio” (Barzane), then comes Arsilda, RV 700, Act II, Scene 8 - which begins with the delicate Recitativo “Si tenti il mio destin” (Lisea, Barzane), ending on the dutifully sculpted Aria “Fra cieche tenebre” (Lisea); and then we get Arsilda, RV 700, Act II, Scene 9 - beginning on the firmly guided Recitativo “Vive Lisea!” (Barzane) and the gorgeous Aria “Quell’ usignuolo” (Barzane); then along comes Arsilda, RV 700, Act II, Scene 10 - opening on the glistening Recitativo “Non ti sia dispiacer” (Tamese, Mirinda) and the dedicated Aria “Ancor la tortorella” (Mirinda).

Then we get Arsilda, RV 700, Act II, Scene 11 - which begins with the hearty Recitativo “Ma qual sciocca dimora” (Tamese, Arsilda) , ending on the unyeilding Aria “Siano gl’astri a me tiranni” (Tamese); and along next is Arsilda, RV 700, Act II, Scene 12 - and the delightful Recitativo “Qual non più inteso inganno” (Arsilda) and the regally stanced Aria “Son come farfalletta” (Arsilda); with Arsilda, RV 700, Act II, Scene 13 along next and the vicacious Recitativo “Che intesi mai?” (Cisardo, Nicandro) before the wholehearted Aria “Quale a l’onte de’ venti” (Cisardo) is upon us; and then we get Arsilda, RV 700, Act II, Scene 14 - which begins on the assured Recitativo “Se scoprir la sua pena” (Nicandro), culminating on the composed Aria “Quando sorge in ciel l’aurora” (Nicandro).

Up next is the divine Vivaldi: Arsilda, RV 700, Act III, Scene 1: Recitativo “Da quel, che già non era” (Lisea); and then we get Arsilda, RV 700, Act III, Scene 2 - opening on the serene Recitativo “Eccolo” (Lisea, Barzane) and the robust Aria “Pupille del mio ben” (Barzane); then we get Arsilda, RV 700, Act III, Scene 3 - beginning on the elegant Recitativo “O del cieco amor mio” (Lisea) and a vibrancy that drives Aria “Di Cariddi li vortici ondosi” (Lisea); then Arsilda, RV 700, Act III, Scene 4 - which opens on the sweeping Recitativo “Al tuo braccio, al tuo ardir” (Nicandro, Tamese) and culminates on the atmopsherically-charmed Aria “Ride il fior, canta l’augello” (Nicandro).

Next is Arsilda, RV 700, Act III, Scene 5 - opening on the gorgeous Recitativo “Finch’ a l’amata” (Tamese, Mirinda), ending on the determined Aria “Chi vuol goder d’amor” (Mirinda); then comes Arsilda, RV 700, Act III, Scene 6 - which opens on the grasping Recitativo “Già che scoperto io son” (Tamese, Cisardo) and the sheer elegance shown within Aria “La mia gloria ed il mio amore” (Tamese); then we get Arsilda, RV 700, Act III, Scene 7 - beginning on the stoic Recitativo “Cisardo, appunto io deggio Signor parlarti” (Lisea, Cisardo), closing on the veritably churlish Aria “Mille frodi, e mille inganni” (Cisardo).

This simply magnificent set of music comes to a resoundingly majestic close on Arsilda, RV 700, Act III, Scene 8 - opening on the resounding Recitativo “Suol talor un gran rischio” (Lisea, Barzane), ending on the almost arcadian Aria “Tornar voglio al primo ardore” (Barzane); then we get Arsilda, RV 700, Act III, Scene 9 - beginning on the languishing Recitativo “Regina, il bel momento” (Lisea, Arsilda) and the adventurous Aria “Cara gioia” (Lisea); next is Arsilda, RV 700, Act III, Scene 10 - starting with the quiescent Recitativo “Finga Lisea” (Arsilda) and the wholesome Aria “Al nocchiero quant’è dolce quel pensiero” (Arsilda); and then comes the rugged Vivaldi: Arsilda, RV 700, Act III, Scene 11: Recitativo “Popoli ancor non tutto” (Cisardo); the final pieces being Arsilda, RV 700, Act III, Scene 12 - which is the delightful Recitativo “Germani, su’l tron ch’è tuo” (Lisea, Tamese, Arsilda, Barzane, Cisardo, Mirinda, Nicandro), closing on the uplifting Coro “D’Imeneo la bella face” (La corte reale).

Arsilda, RV 700, Sinfonia
I. Allegro
II. Andante
III. Presto

Arsilda, RV 700, Act I, Scene 1
I. Recitativo “Questo, o populi, è il giorno” (Cisardo)
II. Coro “Tutto il Regno in lieta gara” (Il Popolo)
III. Recitativo “Figli, non men che miei vassalli” (Lisea)
IV. Recitativo “Questa, o fidi è mia sposa” (Lisea, Nicandro, Mirinda, Cisardo, Arsilda)
V. Aria “L’esperto nocchiero” (Cisardo)

Arsilda, RV 700, Act I, Scene 2
I. Recitativo “Sposa. A che tal mi chiami” (Lisea, Arsilda, Nicandro, Mirinda)
II. Aria “Del goder la bella speme” (Arsilda)

Arsilda, RV 700, Act I, Scene 3
I. Recitativo “Sol di Bitinia il Prence” (Lisea, Nicandro)
II. Aria “Col piacer della mia fede” (Nicandro)

Arsilda, RV 700, Act I, Scene 4
I. Recitativo “Partano i servi” (Lisea, Mirinda)
II. Aria “Fingi d’aver un cor” (Lisea)

Arsilda, RV 700, Act I, Scene 5
I. Recitativo “Dunque questo che amor” (Mirinda)
II. Aria “Non m’è caro amar penando” (Mirinda)

Arsilda, RV 700, Act I, Scene 6
I. Recitativo “Del sotterraneo loco” (Barzane)
II. Aria “Sempre piace goder il suo bene” (Barzane)

Arsilda, RV 700, Act I, Scene 7
I. Recitativo “D’Ama la reggia è questa” (Tamese)
II. Aria “La tiranna avversa sorte” (Tamese)

Arsilda, RV 700, Act I, Scene 8: Recitativo e Arioso “So ben’io qual pena sia” (Arsilda)

Arsilda, RV 700, Act I, Scene 9: Recitativo “Ecco l’ingrata” (Barzane, Arsilda, Tamese)

Arsilda, RV 700, Act I, Scene 10
I. Recitativo “Scoperto il tradimento” (Cisardo, Barzane)
II. Aria “L’esser vinto non son le mie pene” (Barzane)

Arsilda, RV 700, Act I, Scene 11
I. Recitativo “Tutto al tuo braccio” (Arsilda, Tamese)
II. Aria “Perché veggio nel tuo volto” (Arsilda)

Arsilda, RV 700, Act I, Scene 12
I. Recitativo “Dunque il cultor degl’orti” (Lisea, Cisardo)
II. Coro “Amoretti, vezzosetti che le fiamme” (Soldati, Ministri)
II. Recitativo “Prendi signor” (Cisardo)
IV. Recitativo “O dell’adusta Lenno” (Lisea)
V. Recitativo “Cisardo, or già che il sacro rito” (Lisea, Cisardo)

Arsilda, RV 700, Act I, Scene 13: Recitativo “Io se tu vuoi, Regina” (Nicandro, Lisea)

Arsilda, RV 700, Act I, Scene 14
I. Recitativo “Tu Mirinda quai voti” (Lisea, Mirinda)
II. Aria “Porta amor una tal face” (Lisea)

Arsilda, RV 700, Act I, Scene 15
I. Recitativo “Benché d’amor le stravaganze intesi” (Mirinda)
II. Aria “Io son quel gelsomino” (Mirinda)

Arsilda, RV 700, Act II, Scene 1
I. Recitativo “Il pastorel, che raffrenò l’ardire” (Mirinda, Lisea)
II. Aria “Un certo non so che” (Mirinda)

Arsilda, RV 700, Act II, Scene 2
I. Recitativo “State lungi soldati” (Lisea, Barzane)
II. Aria “Ah non so se quel ch’io sento” (Barzane)

Arsilda, RV 700, Act II, Scene 3
I. Recitativo “Arsilda ecco ne vien” (Lisea, Arsilda, Tamese)
II. Aria “Va superbo” (Tamese)

Arsilda, RV 700, Act II, Scene 4
I. Recitativo “Del pastor la sembianza” (Lisea, Arsilda)
II. Aria “Se un cor soffrir saprà” (Lisea)

Arsilda, RV 700, Act II, Scene 5
I. Recitativo “Sì che un tiranno sposo” (Arsilda)
II. Aria “Precipizio è del mio petto” (Arsilda)

Arsilda, RV 700, Act II, Scene 6
I. Coro “Su alla caccia si gridi, alla Caccia” (Cacciatori)
II. Arietta “D’una cervetta” (Lisea)
III. Duetto “Già il prato” (Mirinda, Nicandro)
IV. Recitativo “Ma per tua mano” (Lisea, Nicandro)
V. Arietta “Sù svegliatevi augelletti” (Arsilda)
VI. “Di questi boschi” (Cisardo, Tamese, Mirinda, Arsilda, Lisea, Cacciatori)
VII. Recitativo “Di giovanne cervetta” (Nicandro, Lisea)
VIII. Coro “Sù a la caccia si gridi” (Cacciatori, Lisea, Arsilda, Tamese, Mirinda, Nicandro, Cisardo)

Arsilda, RV 700, Act II, Scene 7: Recitativo “Al geloso amor mio” (Barzane)

Arsilda, RV 700, Act II, Scene 8
I. Recitativo “Si tenti il mio destin” (Lisea, Barzane)
II. Aria “Fra cieche tenebre” (Lisea)

Arsilda, RV 700, Act II, Scene 9
I. Recitativo “Vive Lisea!” (Barzane)
II. Aria “Quell’ usignuolo” (Barzane)

Arsilda, RV 700, Act II, Scene 10
I. Recitativo “Non ti sia dispiacer” (Tamese, Mirinda)
II. Aria “Ancor la tortorella” (Mirinda)

Arsilda, RV 700, Act II, Scene 11 II. Aria “Siano gl’astri a me tiranni” (Tamese)

Arsilda, RV 700, Act II, Scene 12
I. Recitativo “Qual non più inteso inganno” (Arsilda)
II. Aria “Son come farfalletta” (Arsilda)

Arsilda, RV 700, Act II, Scene 13
I. Recitativo “Che intesi mai?” (Cisardo, Nicandro)
II. Aria “Quale a l’onte de’ venti” (Cisardo)

Arsilda, RV 700, Act II, Scene 14
I. Recitativo “Se scoprir la sua pena” (Nicandro)
II. Aria “Quando sorge in ciel l’aurora” (Nicandro)

Arsilda, RV 700, Act III, Scene 1: Recitativo “Da quel, che già non era” (Lisea)

Arsilda, RV 700, Act III, Scene 2
I. Recitativo “Eccolo” (Lisea, Barzane)
II. Aria “Pupille del mio ben” (Barzane)

Arsilda, RV 700, Act III, Scene 3
I. Recitativo “O del cieco amor mio” (Lisea)
II. Aria “Di Cariddi li vortici ondosi” (Lisea)

Arsilda, RV 700, Act III, Scene 4
I. Recitativo “Al tuo braccio, al tuo ardir” (Nicandro, Tamese)
II. Aria “Ride il fior, canta l’augello” (Nicandro)

Arsilda, RV 700, Act III, Scene 5
I. Recitativo “Finch’ a l’amata” (Tamese, Mirinda)
II. Aria “Chi vuol goder d’amor” (Mirinda)

Arsilda, RV 700, Act III, Scene 6
I. Recitativo “Già che scoperto io son” (Tamese, Cisardo)
II. Aria “La mia gloria ed il mio amore” (Tamese)

Arsilda, RV 700, Act III, Scene 7
I. Recitativo “Cisardo, appunto io deggio Signor parlarti” (Lisea, Cisardo)
II. Aria “Mille frodi, e mille inganni” (Cisardo)

Arsilda, RV 700, Act III, Scene 8
I. Recitativo “Suol talor un gran rischio” (Lisea, Barzane)
II. Aria “Tornar voglio al primo ardore” (Barzane)

Arsilda, RV 700, Act III, Scene 9
I. Recitativo “Regina, il bel momento” (Lisea, Arsilda)
II. Aria “Cara gioia” (Lisea)

Arsilda, RV 700, Act III, Scene 10
I. Recitativo “Finga Lisea” (Arsilda)
II. Aria “Al nocchiero quant’è dolce quel pensiero” (Arsilda)

Arsilda, RV 700, Act III, Scene 12
I. Recitativo “Germani, su’l tron ch’è tuo” (Lisea, Tamese, Arsilda, Barzane, Cisardo, Mirinda, Nicandro)
II. Coro “D’Imeneo la bella face” (La corte reale)

Official Andrea Marcon / La Cetra Barockorchester Website