Telemann's intermezzo Pimpinone was first performed in Hamburg in 1725, by which time the composer had been opera director there for three years. It has been suggested that the work was played between the acts of Handel's Tamerlano which had been performed in Hamburg the same year, but there is no evidence to support the theory. More probably, Telemann used it in conjunction with his own opera Der geduldige Socrates. The text of Pimpinone was originally the work of Pietro Pariati and was first set as an intermezzo by Albinoni in 1708. Telemann's text incorporates some of Pariati's Italian original, but for the rest it was completely revised by Telemann's contemporary, Johann Philipp Praetorius. Praetorius, who also provided the composer with the text of his opera Calypso (1728), followed the North German convention of retaining the Italian language for many of the arias and duets while translating and rewriting the recitative into the vernacular. In this way the audience could follow the action in greater detail.
The plot is simple: wealthy, fashion-conscious but lonely Pimpinone engages a maidservant, falls for her and marries her. Vespetta—not for nothing has she been so called—with an eye firmly focused on the main chance, turns everything to her own advantage. Having first gained access to his heart she then does likewise with the keys to the pantry, the wine-cellar and the money-chest. Eventually she gains her freedom, too, and the marriage is conducted entirely on her terms. It is in other words no lieto fine and it would be a hard heart that could find no compassion for the hapless, if foolish, Pimpinone.
This new recording is very stylish and fluently sung. Julianne Baird is well cast in the role of Vespetta, youthful-sounding, coquettish and appropriately waspish as well. Intonation is variable but her lively characterization and pleasing vocal timbre are a constant delight. John Ostendorf turns in an endearing performance, eager, lustful but as the story unfolds increasingly irritable and self-pitying. A weaker element is provided by the St Luke's Baroque Orchestra. Period instruments do not yet come naturally to these players and the string playing, though lightly articulated and unquestionably sympathetic, is lustreless, often scrappy in ensemble and too weak in projection. Any spirited gestures here, and there is plenty of opportunity for them, come from the delightful exchanges between the two protagonists and their graceful, accomplished singing of the arias. However, this is a largely successful enterprise, all the same, and Telemann's score is an appealing one. The recorded sound is clear and pleasingly resonant.'