Calabrian-born Leonardo Vinci (1690-1730) was a younger contemporary of Vivaldi, whose influence on opera composers of his own generation, among them Handel, as well as the Neapolitan composers of the next generation, such as Pergolesi, is well attested. In a life spanning hardly 35 years, Vinci wrote copiously for the theatre, excelling in the comic sphere with intermezzos and fuller-length comedies. Li zite ’n galera (‘The Lovers on the Galley’), a commedia per musica in three acts, is one of the latter, and the earliest such piece from his pen to have survived intact. It was first performed at the Teatro dei Fiorentini in Naples in 1722.
The libretto by Bernardo Saddumene presents an amorous intrigue, further complicated by its predominantly Neapolitan dialect, elaborate disguises and a profusion of in-jokes. The action takes place in and around a barber’s shop in a town on the Amalfi coast. Vinci’s score is a captivating one, not only for the many alluring melodies that it contains, but also for the wonderfully rich assortment of rhythmic patterns with which he enlivens Saddumene’s entertaining text. Accompaniments are generally simple, with effective use of instrumental doublings and unison passages. This becomes evident right at the outset in the aria with which the opera begins (there is no introductory sinfonia).
The performance is excellent, with some outstandingly accomplished contributions from the singers – only Pietro Naviglio disappoints – and notably, perhaps, from Roberta Invernizzi. Her ‘Va’, dille ch’e ’no sgrato’ (disc 1, track 3) is an early indication in the work of the sensitive singing of which she is capable. The aria furthermore establishes the thoroughly up-to-date musical language of Vinci’s style, while at the same time bringing to mind another in Vivaldi’s serenata, ‘Mio cor, povero cor’, pointing up the Venetian composer’s own progressive leanings. The ensembles number three duets and an engaging terzetto whose very charm perhaps understates the seemingly cruel predicament of the three dramatis personae. Simple recitative is often very imaginatively handled by Vinci, and declaimed with animated spontaneity and, where required, passion, by the present cast. A lively continuo group, consisting of harpsichord, cello and archlute, and a fairly disciplined (though not invariably warm-sounding) orchestra set the seal on a splendid release. Strongly commended.'