ICE Kraków Congress Centre
Marii Konopnickiej 17


Festa Napoletana

deliri, travestimenti, sberleffi e follie nella Napoli barocca


Pietro Antoni Giramo – Pazzia venuta da Napoli: La Pazza a voce sola

Francesco Provenzale – Aria di Scaccia: Me sento ‘na cosa (z Il Schiavo di sua moglie)

Domenico Sarro – Sinfonia (z Ginevra principessa di Scozia)

Francesco Manzini – Aria: Canta e dì caro usignolo (z Traiano)

Michel Angiolo Faggioli – Cantata in napoletano: ’Sto Paglietta presuntuso

Giovanni Paisiello – Duetto di Pulcinella e Carmosina: Gioia de ‘st’arma mia (z Pulcinella Vendicato)

Leonardo Vinci – Concerto per flauto dolce e archi (Amoroso – Adagio – Allegro)

Leonardo Vinci – Aria: Scendi da questo soglio (Il Trionfo di Camilla)

Michele Mascitti – Passacaglia per archi

Giuseppe Petrini – Graziello e Nella (intermezzo buffo a 2 voci)


Today, Naples is a chaotic and apparently incoherent conglomeration of different architectural styles relating to different reigns over the city throughout the centuries. With nearly 400.000 inhabitants at the beginning of the 17th century (second only to Constantinople), Naples was forced to invent new urban forms in order to accomodate such an immense population. The gentle climate of “the most beautiful bay in the world” meant it was possible to live out in the open all year round. In fact, there was a social class which specialised in the outdoor life: the lazzaroni who played an enormous part in travel literature to Naples. The city life was dominated by numerous popular festivities and the best composers active in the city were asked to set to music several comic situations depicting the Neapolitan real life. The long calendar of festivities included both religious and civic ones. And although the Neapolitan feste always involved sex jokes and ended with food, their fundamental element was, nevertheless, music. The musical panorama created by these juxtapositions is so varied that it seems impossible to find one common designation for these works which have came down to us as dusty manuscripts of old scores. And yet, just listen to the first bars of these compositions from such distant and different centuries, and try to see today’s performers/actors as the heirs to the musicians of the feste of the past.


Roberta Invernizzi – soprano 

Pino de Vittorio – tenor

Cappella Neapolitana – ensemble 

Antonio Florio – conductor