Like other composers active at the very end of the seventeenth century and the start of the eighteenth, Francesco Gasparini’s music was swept aside by the talented activities of Vivaldi and Porpora (and the influence of Farinelli and Carestini), and of course of Handel, whose score for Tamerlano (the earlier version of Gasparini’s Il Bajazet had been called Tamerlano) reflect very close readings of Gasparini’s own operas. In her booklet essay Antonella D’Ovidio delves into the history of Gasparini’s Il Bajazet and comments lucidly on the style of this neglected operatic master.