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Buon compleanno Antonio Maria Bononcini! 🎭🍷 Composer: Antonio Maria Bononcini (1677-1726) Work: Messa à Cinque Concertata Performers: Silviа Frigаto & Raffаеlla Milаnеsi (sopranos); Andrеа Arrivаbеnе (countertenor); Elеna Biscuola & Sara Mingаrdo (contraltos); Vаlеrio Contаldo & Raffaеlе Giordаni (tenors); Sаlvo Vitаlе (bass); Concеrto Itаliаno; Rinаldo Alеssаndrini (conductor) Messa à Cinque Concertata 1. Kyrie 0:00 2. Gloria 5:58 3. Credo 27:49 4. Sanctus 39:00 5. Benedictus 41:03 6. Agnus Dei 43:41 Painting: Giovanni Paolo Panini (1691-1765) - The Flooding of the Piazza Navona HD image: Painting: Unknown master (18th Century) - Ritratto di Antonio Maria Bononcini HD image: Further info: Listen free: --- Antonio Maria Bononcini (Modena, 18 June 1677 - Modena, 8 July 1726) Italian composer, son of Giovanni Maria Bononcini (1642-1678) and brother of Giovanni Bononcini (1670-1747). He studied with his father. His first success came with the production of his opera Il trionfo di Camilla, regina del Volsci (Naples, 1696). This opera was produced in many other theaters in Italy, sometimes under different titles, as Amore per amove, La fede in cimento, etc. It was presented in London (1706) with great acclaim. Around 1700 Antonio joined his brother in Vienna, and Telemann heard them perform at Berlin in summer 1702. Antonio was first commissioned to compose for the Viennese court in 1705, the year in which Joseph I became emperor. During Joseph’s reign Antonio was appointed Kapellmeister to Joseph’s brother, who was living in Spain as Charles III. In Vienna he produced the operas Teraspo (1704), Arminio (1706), La conquista delle Spagne di Scipione Africano (1707), La presa di Tebe (1708), and Tigrane, re d'Armenia (1710). Antonio may have accompanied his brother to Rome when the two returned to Italy in 1713, but he settled in Modena, where his wife, Eleonora Suterin, bore him four sons and a daughter between 1715 and 1722. There he directed his operas L'enigma disciolto (1716) and Lucio Vero (1716). His last opera, Rosiclea in Dania, was staged in Naples (1721). He presumably wrote his extant mass and Stabat mater during his final years, and the contrapuntal complexities in the latter were largely responsible for Padre Martini’s judgment of his style: ‘so elevated, lively, artful and delightful, that he is distinguished above most early 18th-century composers’. His most famous opera, Il trionfo di Camilla, has often been erroneously attributed to his brother; several songs from it were published in London by Walsh.
