In the shadows of the Estense palaces in Ferrara arose the remarkable concerto grande of the convent of San Vito, “universally celebrated by many and diverse Musicians from Italy and abroad” (in the words of the contemporary composer Artusi). There were at least 23 musicians: “Cornetts, Trombones, Violins, Viole bastarde, Double Harps, Lutes, Crumhorns, Flutes, Harpsichords, and voices, all at one time.” The Concert Mistress conducting this ensemble was Raphaella Aleotti, the first Italian nun to have published any music: her Sacrae cantiones for between 5 to 10 voices, published in Venice in 1593. In that same year a collection of madrigals appeared by another Aleotti, Vittoria, possibly her sister but more probably the same woman using first her secular and then her monastic name. Raphaella’s abilities as an organist earned the praises of Frescobaldi, Giaches de Wert, Merulo, and Gesualdo, among others, and at least two collections of music were dedicated to her. This recording, dedicated to her complete sacred works, has involved the participation of 9 singers as well as players of virtually every instrument associated with her convent (quite coincidentally, 23 musicians!), and also includes pieces composed by her teacher, the well-known composer Ercole Pasquini, in addition to others by various composers (Agnelli, Chinelli and Mazzaferrata) dedicated to the musical nuns of Ferrara.