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Francesco Cavalli’s Il Giasone, first performed in Venice in 1649 to a libretto by Giacinto Andrea Cicognini, was one of the most successful operas of the 17th century. Rather than presenting Jason as a purely heroic figure, the opera opens by showing him in a state of sensual ease and moral distraction. ‘Delizie, contenti che l’alma beate’ is Jason’s first aria in Act I and serves as his entrance. Having been kept from his duties by a nocturnal love affair, with Medea at this point still moving around him in disguise, Jason greets the morning not with urgency or purpose, but with contentment. The aria expresses his delight in pleasure and fulfilment, presenting desire as something complete in itself. This moment immediately establishes the central tension of the drama. Ercole responds by rebuking him and urging him to abandon indulgence and return to heroic responsibility. Cavalli and Cicognini thus introduce Jason not as a triumphant leader, but as a man suspended between desire and duty, and the aria becomes a defining early portrait of his character.

Within Cupid’s Ground Bass, this aria occupies a similarly important position. The album explores contrasting emotional states associated with love, from exuberance and sensuality to abandonment and grief, and Cavalli’s portrayal of Jason offers one of its most vivid expressions of fulfilment. The aria follows the instrumental Sinfonia from Il Giasone, allowing the listener to enter Cavalli’s theatrical world before encountering Jason himself. Elsewhere on the album, Medea’s Act I lament ‘Se dardo pungente’ presents the opposite perspective, revealing the vulnerability and emotional cost that accompanies this same love. Heard in this context, ‘Delizie, contenti’ represents a moment of radiant stillness, in which desire appears uncomplicated and complete, even as the opera itself will soon expose the instability of that state.

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The video for ‘Delizie, contenti che l’alma beate’ was directed by Thomas Guthrie, whose insight and sensitivity to the dramatic core of Cavalli’s writing shaped the project at every level. His approach drew out the essential tension within the aria, allowing Jason’s state of contentment to emerge with clarity while still hinting at the fragility beneath it. Thomas was extraordinary to work with throughout the process, bringing a deep understanding of 17th-century theatrical language while creating a space in which the music and drama could unfold naturally and without affectation. The film was beautifully captured by videographer Bobby Williams, whose work combines intimacy with precision, allowing the smallest musical and expressive details to remain at the forefront. Their collaboration brought a remarkable coherence to the visual result.

Bellot Ensemble was named as the 2025-2027 BBC New Generation Baroque Ensemble and selected for the Britten Pears Young Artist scheme. The group specialises in vivid and imaginative performances of 17th-century music, grounded in historical research and contemporary creativity.

PERFORMERS
Kieran White tenor
Edmund Taylor violin
Maxim Del Mar violins
Jacob Garside cello
Daniel Murphy theorbo
Matthew Brown harpsichord

CREDITS
Director: Thomas Guthrie
Videographer: Bobby Williams
Audio Engineer: John Croft (Chiaro Audio)
Producer: Thomas Pickering
Label: First Hand Records
Filmed at: VOCES8 Centre, London
Supported by: Continuo Foundation

Cupid's Ground Bass is available to purchase from First Hand Records and to stream on all major digital platforms.