The Vivaldi Edition
Operas #1 (27
CD + 1 DVD Box Set/Naxos)
Picture:
B Sound: B Extras: A
Music:
Orlando Finto Pazzo A-
Juditha Triumphans A
Tito Manlio A
La Verita in Cimento A
Orlando Furioso A
Atenaide A
Farnace A-
L’Olimpiade A
Griselda A+
With
Christmas 2008 quickly approaching there are perhaps many things that a
classical music fan might want, but at the top of their list should be at least
one thing: The Vivaldi Edition Operas #1,
released through Naxos on their Naïve label.
The set features an incredible compiling of 9 of Vivaldi’s operas,
including a lost piece (Farnace),
plus a bonus DVD. Each opera is featured
on three CD’s, which are color-coordinated within the set and were previously
released individually with the exception of Farnace. To really
appreciate just how valuable this set is, there needs to be some explanation
given. The Vivaldi Edition under its
director Alberto Basso has been working with Naïve to finally bring some
adequate representation to the world of CD with Vivaldi and his work. While much of his work is lost, some of it
recovered, the world is finally catching up with this master and his fuller
body of work.
Antonio
Vivaldi (1678-1741) wrote operas at a blazing speed and it’s been estimated
that he wrote 90+ operas during his life, approximately 50 of those have been
identified and only about 20 have survived.
This is why the preservation of music is so vital, over the past 50 or
so years Vivaldi’s music has started becoming more mainstream, but his operas
are still unfamiliar to many. This
particular set not only delivers to us 9 of his operas, but also includes a
beautifully assembled art book, which chronicles the music, gives a biography
on each of them, and also includes some terrific photography, shows scans of
the actual manuscripts, and gives the reader terrific insight into the man, the
music, and the history of building this set, which all began years ago.
What that
essentially amounts to is a highly valuable set that compiles some of the most
important work ever written by Vivaldi altogether in one mega-set, which has
been carefully recorded and mastered by Naxos/Naïve and released in full glory
here. The set also has the full
librettos assembled together in another book, plus a bonus DVD is issued, which
features two documentaries that run a little over 20-minutes each. The first is geared towards Vivaldi, while
the other is dedicated towards the recording process and the importance behind
assembling these fine works. Both are
highly informative and clearly give an even further understanding and
appreciation into why this set is so necessary and vital for the ongoing love
of Vivaldi, and in particular his operas, which again are just now starting to
infiltrate the classical marketplace.
Before
getting to each opera, I wanted to spend a few moments talking about the actual
recordings and their delivery onto the CD format. Lately we have really enjoyed titles being
released through Naxos on various labels in the SACD format, which takes CD’s
to a new level with uncompressed Direct Stream Digital sound, these discs allow
the user to enjoy not only a CD-layer of the recordings, but 2.0 and 5.1 mixes
as well, which are in higher-resolution DSD.
You can read our reviews for those titles here:
Naxos
Wave One
Naxos
Wave Two
Because
CD offers compression and limitations since the format is only PCM stereo at
16-bit/44.1kHz it cannot compete with the best that SACD has to offer, but
despite format limitations, it’s vital for music to be recorded and mastered
well regardless. Naxos has built a strong reputation by seeking out the best
recordings and/or producing their own through various labels that it’s no
wonder they are the premier company in classical music. Their dedication to this business is evident
by the solid and consistent product that is put forth, this box set is
certainly no exception; in fact, it’s the gold standard! Most of the recordings here are only a few
years old, most of which took place between 2002 and 2005. They were issued in 3-disc sets for each
opera, however, this set puts all of them together and includes the previously
unavailable Farnace with this set,
plus it includes the finest of packaging.
Here each
opera is divided into three-discs, that are color coordinated for each opera
and each are mastered quite well. It’s
apparent very early on that each venue used for these recordings is using the
finest in technology and while the CD format does limit the full potential,
even with that the quality here is exceptional.
One thing that I quickly noticed was that the soundstage is very wide
and full, although in comparison to the SACD’s we’ve recently covered the mixes
go beyond that with not only a wide soundstage, but a deep one as well. Because of the nature of these operas the
mixes become full very frequently with a variety of voices, instruments, etc
that quickly fill the two speakers, this is where things can get a bit messy in
poor recordings, but not the case here.
It was surprising to me just how penetrating voices cut through the mix
here, and more importantly the music feels natural, balanced, and lively. While an opera is certainly a hard thing to
recreate within the home due to acoustics and the dynamics that are associated
with a live experience, the music re-created through these discs brings us up
close and personal with the music and never hinders the experience. While SACD would certainly take this to a new
level of resolution and fidelity, these recordings are quite solid and on a
well-calibrated stereo system will deliver the goods. Some audiophiles might have minor complaints
(especially those who still use vinyl as their primary source) that the highs
and lows feel too compressed here, which is another attribute associated with
CD, it is certainly true that the full spectrum of sound is truncated at times,
but the expression of the music is always full, natural, and engaging despite
that.
Orlando Finto Pazzo is the second Italian opera by
Vivaldi and was written in 1714 and is a three-act opera with libretto by
Grazio Braccioli and was recorded in December 2003 in the Instituto di Musica
Academia Montis Regalis in Mondovi Italy under the conduction of Alessandro De
Marchi and chorusmaster Claudio Marino Moretti. Featured here is Antonio Abete (bass) as
Orlando, Gemma Bertagnolli (soprano) as Ersilla, Marina Comparato
(mezzo-soprano) as Tigrinda, Sonia Prina (contralto) as Origille, Manuela
Custer (mezzo-soprano) as Argillano, Martin Oro (countertenor) as Decio, and
Marianna Pizzolato (mezzo-soprano) as Brandimarte.
This is a
fine production and quickly demonstrates Vivaldi’s early talents with opera,
despite being more well-known for his orchestral works.
Juditha Triumphans is an importance pieces as it is the
only oratorio by Vivaldi known to survive, he is said to have written
four. The oratorio translated means
Judith triumphs over the barbarians of Holofernes, the libretto by Giacomo
Cassetti is based upon the book of Judith from the Holy Bible. The piece was written and performed first in
November 1716 in Venice and is believed to be not only his first, but his best
oratorio, although not having the others to compare, it’s hard to truly state
this. Of course during this time Venice
was also in upheaval and the story serves as an allegory for Venice defeating
the Turks in Corfu, interestingly enough at its premier was the victorious
General von der Schulenburg, it must have been a truly amazing experience at its
premier! For this particular set, the
oratorio was recorded in October 2002 at the Instituto di Musica Academia
Montis Regalis in Mondovi Italy under the direction of Allessandro De Marchi
and featuring Magdalena Kozena (soprano) as Juditha, Maria Jose Trullu
(mezzo-soprano) as Oloferne, Marina Comparato (mezzo-soprano) as Vagaus, Anke
Herrmann (soprano) as Abra, and Tiziana Carraro (mezzo-soprano) as Ozias.
Tito Manlio was written in 1719 in honor and
celebration of the marriage of the governor of Mantua for Carnival and is the
operatic story of Titus Manlius Torquatus, who was the consul of Rome and his
conflict with t he region of Latium.
This recording took place in July 2005 in Sala del Refettorio di S.
Vitale of the Museo Nazionale of San Vitale with musical consultant Frederic
Delamea and conductor Ottavio Dantone of the Accademia Bizantina. It’s a musical drama broken into three acts
with libretto by Matteo Noris. Featured
here is Nicola Ulivieri (bass-baritone) as Tito, Karina Gauvin (soprano) as
Manlio, Ann Hallenberg (mezzo-soprano) as Servillia, Marijana Mijanovic
(contralto, we covered her in Handel’s Orlando
reviewed here)
as Vitellia, Debora Beronesi (mezzo-soprano) as Lucio, Barbara Di Castri
(mezzo-soprano) as Decio, Mark Milhofer (teno) as Geminio, and Christian Senn
(bass-baritone) as Lindo.
La Verita in Cimento, which simply translated means
‘truth in ordeal’ is Vivaldi’s 13th opera, which premiered during
the Carnival at Venice in 1720 and is about a father named Mamud, who had two
sons to two different women. They were
exchanged at birth and one is the legitimate heir to the throne, but later in
life after the men have grown up and have their own paths carved for them, the
truth is revealed and many twists and turns begin to emerge. The recording here took place in September
2002 under musical consultant Frederic Delamea and conducted by Jean-Christophe
Spinosi, featured here is Gemma Bertagnolli (soprano) as Rosane, Guillemette
Laurens (mezzo-soprano) as Rustena, Sara Mingardo (contralto) as Melindo,
Nathalie Stutzmann (contralto) as Damira, Philippe Jaroussky (countertenor) as
Zelim, and Anthony Rolfe Johnson (tenor) as Mamud.
Orlando Furioso another powerful musical drama in
three acts with Ilatian libretto by Grazio Braccioli, and premiered in 1727 at
the Teatro San Angelo in Venice, is unique in that it combines arias and
recitative as we are taken to an island set in an unspecified time where the
story weaves back and forth from our hero character Orlando and the tale of the
sorceress Alcina. This recording took
place in June 2004 in France under conductor Jean-Christophe Spinosi and
musical consultant Frederic Delamea.
Featured here is Marie-Nicole Lemiuex (contralto) as Orlando, Jennifer
Larmore (mezzo-soprano) as Alcina, Veronica Cangemi (soprano) as Angelica,
Philippe Jaroussky (countertenor) as Ruggiero, Lorenzo Regazzo (bass-baritone)
as Astolfo, Ann Hallenberg (mezzo-soprano) as Bradamante, and Blandine
Staskiewicz (mezzo-soprano) as Medora.
Atenaide was first performed in 1928 at the
Teatro Della Pergola in Florence with libretto by the Venetia poet Apostolo
Zeno and was recorded here in April 2007.
Another musical drama set in three acts the story involves the Byzantine
empress Athenias who converts to Christianity, which then fuels rivalry between
pursuers and various policatal struggles ensue, it’s certainly a more formulaic
piece overall as it deals with many of the common themes and elements found in
much of this period, but nonetheless is memorable and refined. Featured here is Sandrine Piau (soprano) as
Atenaide/Eudossa, Vivica Genaux (soprano) as Teodosio, Guillemette Laurens (mezzo-soprano)
as Pulcheria, Romina Basso (mezzo-soprano) as Varane, Nathalie Stutzmann
(contralto) as Marziano, Paul Agnew (tenor) as Leontino, and Stefano Ferrari
(tenor) as Probo. It should be noted that this is recorded in the same theater
that it premiered in nearly 300 years ago with the same acoustics, you can’t
say that about too many mediums! This is perhaps one of Vivaldi’s most mature
pieces, he revised it a few years later and his style and innovation is working
at full swing here, especially the da capo aria and
advanced vocal writings.
Farnace was a lost musical drama until it
has resurfaced over the past quarter of the 20th century; it first
premiered at the Teatro Omodeo in Pavia with libretto by Antonio Maria Lucchini
and was recorded here in 2001 at the Teatro de la Zarzuela in Madrid. Here we are introduced to the title character
and King of Pontus, who has been removed and he is seeking revenge on Pompey
after he believes that his wife killed herself and that he must prevent his
sons from submitting themselves to the new leadership. His mother-in-law Berenice (the Cappadocian
queen) is deceiving him as well as she is working with Pompey in an attempt to
kill Farnace. Talk about a convoluted
tale of betrayal! Featured here is Furio
Zanasi (baritone) as Farnace, Sara Mingardo (contralto) as Tamiri, Adriana
Fernandez (soprano) as Berenice, Gloria Banditelli (contralto) as Selinda,
Sonia Prina (contralto) as Pompeo, Cinzia Forte (soprano) as Gilade, and Fulvio
Bettini (baritone) as Aquilo.
L’Olimpiade is unique in that it’s comprised
of over 60 baroque and classical composers, Vivaldi’s contribution took place
in 1734 at the Teatro Sant’Angelo in Venice during the Carnival with libretto
by Pietro Metastasio, the story is set in ancient Greece during the Olympic
games and deals with the rivalry ensuing as warriors battle to gain the love
and respect of the women and the ending will finally reveal which marriages
take place. The recording here is from 2002
in the Sala Accademica del Pontificio in Italy under Rinaldo Alessandrini and
featuring Sara Mingardo (contralto) as Lucida, Roberta Invernizzi (soprano) as
Megacle, Sonia Prina (contralto) as Aristea, Marianna Kulikova (mezzo-soprano)
as Argene, Laura Giordano (soprano) as Aminta, Riccardo Novaro (baritone) as
Clistene, and Sergio Foresti (bass) as Alcandro.
Griselda was first performed in 1735 in the
Teatro San Samuele in Venice and is recognized as one of Vivaldi’s finest
operas with libretto by Apostolo Zeno and revised by Carlo Goldoni. Griselda is tested through a series of cruel
trials by her royal husband, which tests not only her patience, but overall her
virtue. It could be said that this is
Vivaldi at his finest with his most signature of sounds pieced together in one
all-out fury. This recording took place in November 2005 at the Salle Surcouf
in France under conductor Jean-Christophe Spinosi and featuring Marie-Nicole
Lemieux (contralto) as Griselda, Veronica Cangemi (soprano) as Costanza, Simone
Kermes (soprano) as Ottone, Philippe Jaroussky (countertenor) as Roberto,
Stefano Ferrari (tenor) as Gualtiero, and Iestyn Davies (countertenor) as
Corrado.
The
bottom line after going through hours upon hours of listening and reading is
that this set is the real deal. No
holding back punches, if you want Vivaldi at his operatic best, this is
it! To date, there is no greater
assemblage of this material and is a volume that should be added to any serious
collection, it represents the best in the baroque repertoire and puts Vivaldi on
the map again right where he belongs.
The preservation of music is so vital and this set represents that to
the fullest degree. The HIGHEST recommendation here!
- Nate Goss
