Predstavljamo vam ariju „Sposa son disprezzata“ („Ja sam žena i prezrena“), autora italijanskog kompozitora Geminiana Giacomellija, koja je uvrštena u Vivaldijevu operu „Bajazet“.

Ova arija, prvobitno nazvana „Sposa, non mi conosci“, potiče iz opere „La Merope“ (1734) Geminiana Giacomellija, komponovane pre Vivaldijevog pastiša „Bajazet“. Tada se često praktikovalo kombinovanje arija drugih kompozitora sa vlastitim delima u okviru opere. Vivaldi je, u skladu s tim, komponovao arije za pozitivne likove, dok je za zlikovce u ovoj operi uglavnom koristio već postojeće arije drugih autora. „Sposa son disprezzata“ izvodi negativni lik, Irene. Nedavno se Vivaldiju pripisuje autorstvo ove arije, verovatno pod uticajem albuma Cecilije Bartoli „If You Love Me—’Se tu m’ami’: Eighteenth-Century Italian Songs“, koji koristi 19. vek pianističku verziju Alessandra Parisottija i pripisuje delo isključivo Vivaldiju.

U transkripciji za klasičnu gitaru i glas Danijela Cerovića, već izvedenoj na koncertima širom sveta i prisutnoj na nosačima zvuka, primenjena su kreativna rešenja prstoreda koja brižljivo čuvaju karakter ovog izuzetnog dela.

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Introducing the aria „Sposa son disprezzata“ („I am a wife and I am scorned“), composed by the Italian composer Geminiano Giacomelli, famously featured in Vivaldi’s opera „Bajazet.“

Originally titled „Sposa, non mi conosci,“ this aria originates from Giacomelli’s opera „La Merope“ (1734), composed prior to Vivaldi’s pasticcio „Bajazet.“ During that time, it was common to combine arias from various composers with one’s own works for operatic productions. Vivaldi, following this practice, composed arias for the virtuous characters while mostly incorporating existing arias from other composers for the villains in this opera. „Sposa son disprezzata“ is performed by the antagonist character, Irene. Recently, Vivaldi has been attributed as the sole composer of this aria, likely influenced by Cecilia Bartoli’s album „If You Love Me—’Se tu m’ami’: Eighteenth-Century Italian Songs,“ which utilizes Alessandro Parisotti’s 19th-century piano version and credits the work exclusively to Vivaldi.

In Daniel Cerović’s transcription for classical guitar and voice, which has been performed globally and recorded, creative solutions have been applied to preserve the essence of this exceptional piece.