Le serenate del Vesuvio

Op. 12: a refined collection of six popular melodies transcribed as studies for solo harp. Each piece — from «Chelle che tu me dice» to «Le stelle della sera», «Giulia gentil» and «Bella Cate» — captures the essence of Neapolitan folklore in a delicate dialogue between memory and virtuosity. Edited by Letizia Belmondo (Ut Orpheus, 2019).

Fantasia concertante sul Poliuto (Op. 8)

A refined tribute to Gaetano Donizetti's lyric drama, turned into a brilliant virtuoso exercise for harp and piano: the opera's most intense themes become the basis for a free structure, rich in ornament and in spectacular exchanges between the two instruments.

La forza del destino (1885)

In the nineteenth century, fantasias on operatic themes became popular in middle-class drawing rooms, as a complement to the study of the classical repertoire. That is part of why Caramiello devoted so much space to writing opera fantasias alongside his variations on popular tunes.

Fantasia sul Quartetto del Rigoletto di Verdi

Rigoletto tells of a father who does everything to protect his daughter and ends up seeing her destroyed by his own actions. In this fantasia the harp becomes once more the voice that tells the story, but as a duo: Bellotta wrote it for two harps (or harp and piano), performed here by the Duo harp ensemble as the composer originally intended.

Omaggio a Bellini

A technically demanding fantasia for harp and cor anglais, built from successions of trills, arpeggios and scales. It falls into two halves: the first on «Il pirata», the second on «La sonnambula» — a tribute to his fellow Sicilian Bellini and to the perfect pairing of harp and cor anglais.