CPO's latest CD featuring the Capella Orlandi brings together stage music by Gottfried Finger and John Eccles, who wrote songs for the famous English stage actress Anne Bracegirdle. At the end of the seventeenth century England's theatrical world was shaped by the defensive stance of traditionalists toward influences from the Italian opera and the magnificence radiating from the French court. The English counterproposal, the 'English opera', was a combination of 'heroic plays' with musical inserts ranging from individual songs, as were performed during Shakespeare's time, to 'all-sung masques', miniature operas with pastoral content. The Mad Lover is a good example of the English opera. On this recording song inserts from other masques are added to this comedy by John Fletcher from 1647. Anne Bracegirdle was so very successful with compositions by John Eccles that she later exclusively sang works by him.

CPO’s rediscovery of Church Music from Hamburg (1600-1800) continues with a concert, broadcast live on Deutschlandradio Kultur, featuring rediscovered works by Reinhard Keiser. Only three oratorios by Reinhard Keiser exist in full. Many shorter pieces, fragments, and works of uncertain authorship still lie unpublished in archives and libraries.

Keiser dominated the Hamburg opera scene between 1697, when Adonis was first performed, and 1717, resuming activities there some six years later. Christian Postel’s plot centres around Ovid’s celebrated account of the love affair between Adonis and Venus, who, in this version of the story is jealously watched over by Mars. Postel’s libretto is very long-winded and not well-sustained; but it offered Keiser the opportunity to provide over three-and-a-half hours of music, much of which, especially in Act III, is of enormous charm and variety.