Lima: Rabbia, furor, dispetto Sinfonie ed Arie Monika Mauch

• Jerónimo Francisco de Lima (1743-1822)
• 1 I. Allegro con Spirito 04:42
• 2 II. Andantino 01:57
• 3 III. Allegro 02:21
• 4 O riposo di core – recitativo accompagnato 03:35
• 5 Bella speme – aria 03:52
• 6 Rabbia, furor, dispetto – recitativo accompagnato 02:03
• 7 Dal furor, dall’odio – aria 05:38
• 8 Medea, que pensi – recitativo accompagnato 03:03
• 9 Dall’a speme, dall’amore – aria 06:45
• 10 I. Allegro Spirituoso 01:55
• 11 II. Andantino 01:50
• 12 III. Allegro Spirituoso 01:04
• 13 I. Allegro Spirituoso 03:54
• 14 II. Andantino Grazioso 01:46
• 15 III. Allegro Assai 02:17
• 16 I. Allegro Spirituoso 04:09
• 17 II. Andante 01:39
• 18 III. Allegro Spirituoso 05:30
• Total Runtime 58:00

Info for Lima: Rabbia, furor, dispetto Sinfonie ed Arie

The Royal Court Opera was a fundamental element of the reigns of D. José I (1750-1777) and of D. Maria I (1777-1816), even after the fateful earthquake of 1755 destroyed the magnificent opera house on the banks of the Tagus River. Following the destruction of the capital and its large auditorium, they preferred works with either modest scenic requirements, or works that dispensed with scenery. These works were performed in the palaces of Queluz or Ajuda; the latter of which was wooden, because of D. José’s fear that another earthquake could quite literally bring the house down!

However, Salvaterra – a thorp about 65 km above the banks of the Tagus, where the Royal Family spent the Carnival season – possessed a large opera house, of similar size to that which the earthquake destroyed in Lisbon. Contrary to the trend towards smaller scale works with mythical themes for moral education that could be heard in the capital’s palaces, here the productions were ostentatious and the libretti were comedic or clearly sentimental.

According to the English music enthusiast William Beckford, Jerónimo Francisco de Lima (1741-1822), was “one of the Queen's [D. Maria I] first composers”. Lima was Beckford’s private musician throughout the year of 1787, spent between Lisbon and Sintra, and thus the travel diary of this eccentric English millionaire is one of the best primary sources of knowledge for Lima’s biography.

Monika Mauch, soprano
Ensemble Concentus Peninsulae
Vasco Negreiros, conductor

Monika Mauch
The german soprano Monika Mauch studied with Richard Wistreich at the Institute for Early Music of the Hochschule Trossingen and subsequently with Jill Feldman in Paris.

In her programs, CDs and radio broadcasts Monika Mauch has continued to develop her specification in early music, working with such groups as Ensemble Daedalus of Geneva, the Hilliard Ensemble, La Capella Ducale of Cologne, the Ensemble Europeen William Byrd in Paris, les Cornets Noirs in Basel, the orchestra L'Arpa Festante of Munich, the l'Orfeo baroque orchestra of Linz and with Double Band under the direction of René Jacobs.

She is presently preparing a new series of lutesong programs and recordings with Nigel North.

Booklet for Lima: Rabbia, furor, dispetto Sinfonie ed Arie