Endimione (1999)

A beguiling rarity. Johann Sebastians youngest and most cosmopolitan son composed this serenata in London in 1772. The plot revolves around the triangular relationship between Diana, her nymph Nice and Endymion, slyly manipulated by Cupid and culminating in the obligatory paean to love. In the booklet, Bruno Weil dubs Endimione one of the first operettas; but though there are touches of cruel humour, usually at Nices expense, the musical idiom and structure, based on a sequence of elaborate arias, are essentially those of opera seria. Bachs suave, mellifluous style often sounds like Mozart minus the masters dynamic impulse and control of long-range tensions. But there are memorable numbers here, above all in the slow cavatinas for Endymion and Diana, with their delicate, Watteau-esque sensuality. Virtually everything depends on the four principals, who all rise to their challenges. Chief honours go to Ann Monoyios, a graceful, sweet-toned Nice, (...)