- Hm, so far, in the series Vivaldi Edition, naive released 17 operas. This box is marked as #01, so we can expect that the second box will be released. And why was the oratorio 'Juditha Triumphans' included here? I don't know, but I'm happy about it.
- Hello NegoJu, above is a list of all recordings in the series of Vivaldi Naive Edition, but only some of them have been shown by me here, on the blog. These two recordings - not yet:) Delete.
- Visit the NEW 2018 website here! -Visit the NEW 2018 website here! Visit the NEW 2018 website here! -Visit the NEW 2018 website here!
Home » Italian Composers » Vivaldi » Vivaldi Operas
Following the release of Naive's critically-acclaimed recording of Ottone in Villa in November 2010, the 16th operatic production in the label's acclaimed 'Vivaldi Edition' features Teuzzone, a vibrant three-act theatre piece first produced in Venice in 1719. Directed by the internationally-renowned early music director Jordi Savall and Le Concert des Nations, the outstanding group of soloists.
See The Operas of Antonio Vivaldi by Reinhard Strohm (Olschki 2008). Details (pdf). It's an exceptional work in 2 volumes that summarizes the known information about every performance and pasticcio. IT | US | UK | FR | DE | CA | JP
In Chronological Order with Recordings
| Vivaldi. Ottone in Villa. (RV 729 Vicenza 1713). Naïve / Opus 111 OP 30493 (2 CDs, November 2010). Details. Booklet (pdf). Giovanni Antonini, Il Giardino Armonico. Ottone: Sonia Prina mezzo-soprano; Cleonilla: Verónica Cangemi soprano; Caio: Julia Lezhneva soprano; Tullia: Roberta Invernizzi soprano; Decio: Topi Lehtipuu tenor. Uses the Cross score. A fine performance and recording. I: 77:17; II: 57:50. US | UK | FR | DE | CA | JP |
| Vivaldi. Ottone in Villa. (RV 729, Vicenza 1713). Brilliant Classics 94105 (2 CDs + CD-ROM, September 2010). Booklet (pdf). Federico Guglielmo, L'Arte dell'Arco. Caio: Florin Cezar Ouatu, countertenor; Tullia: Marina Bartoli, soprano; Cleonilla: Maria Laura Martorana, soprano; Ottone: Tuva Semmingsen, mezzo-soprano; Decio: Luca Dordolo, tenor. Cuts some recitative from the Cross score, but is nearly the same. Restores 'Sol degl'occhi mei' to Cleonilla (from Caio in the Chandos and Naïve recordings). I: 72:08; II: 67:51. US | UK | FR | DE | CA | JP |
| Vivaldi. Ottone in Villa. (RV 729 Vicenza 1713). Chandos Chaconne CHAN 0614 (2 CDs 1998). Booklet (pdf). Richard Hickox, Collegium Musicum 90. Caio: Nancy Argenta, soprano; Tullia: Sophie Daneman, soprano; Cleonilla: Susan Gritton, soprano; Ottone: Monica Groop, mezzo-soprano; Decio: Mark Padmore, tenor. Based on a performing edition by Eric Cross that eliminated much recitative but preserved all the arias and repeats. This edition assigned Cleonilla's aria 'Sol degl'occhi mei' to Caio, a mistake that was copied in the Naïve recording. Clearly preferable to the more complete but rough 3 CD recording by Flavio Colusso on Tactus, although that one is worth having for the different sound of the falsettists, Jean Nirouët and Aris Christofellis, who sings 'Gelosia'. I: 75'54; II: 68'47. US | UK | DE | FR | CA | JP |
| Vivaldi. Ottone in Villa. (RV 729 Vicenza 1713). Bongiovanni GB 10016/18-2 (3 CDs 1993). Flavio Colusso, Ensemble Seicentonovecento. Cleonilla: Patrizia Pace, soprano; Tullia: Anna Maria Ferrante, soprano; Caio: Aris Christofellis, sopranist; Ottone: Jean Nirouët, countertenor; Decio: Luigi Petroni, tenor. This is the only recording that includes all of the original recitative. The booklet includes a complete libretto and English translation, though not as stylish as the translation provided with the other recordings. I: 71'56; II: 74'51; III: 35'08. US | UK | DE | FR | CA | JP |
| Vivaldi. Orlando finto pazzo. (RV 727, Venice 1714). Opus 111 OP 30392 (3 CDs, April 2004). NewOlde.com 2004 Best Baroque Opera CD. Alessandro De Marchi, Academia Montis Regalis, Coro del Teatro Regio di Torino, Claudio Marino Moretti, maestro del coro. Enrico Onofri, solo violin. Orlando: Antonio Abete, bass; Ersilla: Gemma Bertagnolli, soprano; Tigrinda: Marina Comparato, mezzo-soprano; Origille: Sonia Prina, contralto; Argillano: Manuela Custer, mezzo-soprano; Grifone: Martín Oro, countertenor; Brandimarte: Marianna Pizzolato, mezzo-soprano. This fine performance demonstrates better than any other recording that recitative need not be boring. US | UK | DE | FR | CA | JP included in: Vivaldi Opera Edition. Naïve/Opus 111 OP 30470. Reissues of the first seven Opus 111 Vivaldi opera recordings & Juditha Triumphans, plus the Alia Vox recording of Farnace. 27 CDs + 1 DVD + 208-page book. Recommended for the book and the recordings, of L'Olimpiade, Orlando fïnto pazzo, and Juditha Triumphans. This set uses foam CD holders, an inherently defective design. Once removed, the CDs do not stay in place. US | UK | FR | DE | CA | JP |
| Ristori with additions by Vivaldi. Orlando furioso. (Venice 1714, RV 819, one act missing and restored with Vivaldi arias from other operas). Naïve (3 CDs, November 2012). Federico Maria Sardelli, Modo Antiquo. Vivaldi's earliest Orlando fursioso has long been considered to be a revision of Ristori's 1713 opera with some music by Vivaldi, but an article in the Observer claims that it is in fact a different opera, by Vivaldi, citing as one source a record company executive with an obvious conflict of interest. Carlo Vitali has written that the claimed 'rediscovery' is hype and that it is questionable whether Vivaldi is responsible for movements other than those in his own hand and those that appear in other works by Vivaldi. (Musical America, subscriber-only). One act is lost and apparently has been replaced with a pasticcio of Vivaldi arias. Libretto similar to Vivaldi's 1738 version, but music largely different. Carli, who performed Claudio in Handel's Agrippina in 1709, was Orlando in both Orlando finto pazzo and the 1714 Orlando furioso. US | UK | FR | DE | CA | JP |
| Vivaldi et al. Nerone fatto Cesare. (RV 724, Venice 1715). Pasticcio arranged by Vivaldi with 12 new arias by Vivaldi. 'Probably the opera referred to by Uffenbach as Agrippina.' E. Cross, Late Operas I: Appendix I n2. Music apparently lost. The cast included Carli (Claudio in Handel's Agrippina) as Seneca. |
| Vivaldi. La costanza trionfante degl'amori e degl'odii. (RV 706, Venice 1716). Revived in 1718 as Artabano Rè de'Parti (RV 701). According to Cross, L'odio vinto dalla costanza (RV Anh. 51, Venice 1731), probably was a pasticcio based on the 1718 Arabano. Doriclea (RV 708, Prague 1732) adapted from the first version of La costanza. Music apparently lost, except for arias from Artabano that were used in the 1719 intermezzo Dorimena e Tuberone. UPDATE: Six arias from La costanza trionfante have been discovered in the archive of Berkeley Castle, Glouscestershire. BBC, 30 October 2004. They were performed in 2004 along with simultaneously rediscovered arias from Porta's La costanza combattuta in amore at various venues by Rinaldo Alessandrini and the OAE. (E.g., Queen Elizabeth Hall, London, 25 November 2004). |
| Vivaldi. Arsilda, Regina di Ponto. (RV 700, Venice 1716). Opus 111 (Naïve). Forthcoming. Il Giardino Armonico. |
| Vivaldi. Arsilda, Regina di Ponto. (RV 700, Venice 1716). cpo 999 740-2 (3 CDs, January 2005). Federico Maria Sardelli, Modo Antiquo, Coro da Camera Italiano. Arsilda: Simonetta Cavalli, mezzo-soprano; Lisea: Lucia Sciannimanico, mezzo-soprano; Barzane: Nicki Kennedy, soprano; Mirinda: Elena Cecchi Fedi, soprano; Nicandro: Alessandra Rossi, soprano; Tamese: Joseph Cornwell, tenor; Cisardo: Sergio Foresti, bass. See my initial comments. Serviceable but boring recording. Many movements are marred by a strumming guitar. Not up to cpo's usual sonic standards. Budget sound at full price: tutti entrances sound like the 'loudness' switch on a cheap stereo, ie, mired in mud. Incompetent, Belgian machine translation to 'English' instead of the real English translation done for the NY performance. Brochure not proofread, despite 3 years between recording and release. US | UK | DE | FR | CA | JP |
| Vivaldi. L'incoronazione di Dario. (RV 719, Venice 1717). Naïve Vivaldi Edition OP 30553 (3 CDs, April 2014). Details. Booklet (pdf). Ottavio Dantone, Accademia Bizantina. Alinda: Roberta Mameli, soprano; Arpago: Sofia Soloviy, soprano; Statira: Sara Mingardo, contralto; Argene: Delphine Galou, contralto; Oronte: Lucia Cirillo, mezzo-soprano; Flora: Giuseppina Bridelli, mezzo-soprano; Dario: Anders Dahlin, tenor; Niceno: Riccardo Novaro, baritone. The radio broadcast included Hammarström as Statira, Fagioli as Oronte, and Lee as Arpago. A letdown after the previous Naïve release, the superb recording of Catone in Utica by Alan Curtis. Like many recent Vivaldi opera recordings, it features exaggerated dynamics that make for an unpleasant listening experience. The recording often sounds out of balance, with either singers or instruments too loud. US | UK | FR | DE | CA | JP |
| Vivaldi. L'incoronazione di Dario. (RV 719, Venice 1717). Harmonia Mundi HMC 1235.37 (3 LPs) & HMC 901235.37 (3 CDs 1986). Reissued on HMA 1901235.37 (1997). Gilbert Bezzina, Ensemble Baroque de Nice. Dario: John Elwes, tenor; Statira: Gérard Lesne, countertenor; Argene: Henri Ledroit, countertenor; Niceno: Michel Verschaeve, baritone; Alinda / Arpago: Isabelle Poulenard, soprano; Oronte: Agnès Mellon, soprano; Flora: Dominique Visse, countertenor. Facsimile libretto reproduced, but only captions were translated. US | UK | DE | FR | CA | JP |
| Vivaldi. Tieteberga. (RV 737, Venice 1717). Music apparently lost. |
| Vivaldi. Il vinto trionfante del vincitore. (RV Anh. 58, Venice 1717). Pasticcio probably arranged by Vivaldi from the original setting of 1694 by Albinoni. Music apparently lost. |
| Vivaldi. Armida al campo d'Egitto. (RV 699, Venice 1718). Naïve / Opus 111 OP 30492 (3 CDs, March 2010). Booklet (pdf). Video about making the recording. Rinaldo Alessandrini, Concerto Italiano. Erminia: Raffaella Milanesi, soprano; Armida: Sara Mingardo; contralto; Adrasto: Romina Basso, mezzo-soprano; Osmira: Monica Bacelli, mezzo-soprano; Emireno: Marina Comparato, mezzo-soprano; Tisaferno: Martín Oro, countertenor; Califfo: Furio Zanasi, baritone. Alessandrini and Frédéric Delaméa reconstructed Act II, for which the music was lost. One of the best Vivaldi Edition opera recordings. US | UK | FR | DE | CA | JP |
| Vivaldi. Scanderbeg. (RV 732, Florence 1718). Most music apparently lost. The cast included Francesca Cuzzoni as Doneca. |
| Vivaldi. Teuzzone. (RV 736, Mantua 1719). Naïve OP 30513 (3 CDs, November 2011). Booklet (pdf). Jordi Savall, Le Concert des Nations. Teuzzone: Paolo Lopez, sopranist; Zelinda: Raffaella Milanesi, soprano; Cino: Roberta Mameli, soprano; Zidiana: Delphine Galou, contralto; Egaro: Antonio Giovannini, countertenor; Troncone; Makoto Sakurada, tenor; Silvenio: Furio Zanasi, baritone. tt: CD 1: 64:58; CD 2: 48:36; CD 3: 46:00. Much better than the dreadful Volta recording, but not an exceptional recording. Little ambience or bass in the recorded orchestral sound -- perhaps dry hall acoustics are to blame. Annoying HUP strumming guitar. US | UK | FR | DE | CA | JP |
| Vivaldi. Teuzzone. (RV 736, Mantua 1719). Tactus TC 672280 (3 CDs 1996). Sandro Volta, Orchestra dell'Opera Barocca del Teatro di Guastalla. Troncone / Argante: Mauro Pagano, tenor; Teuzzone: Maurizia Barazzoni, soprano; Zidiana: Fernanda Piccini, contralto; Zelinda: Susanna Bortolanei, contralto; Cino: Angelo Manzotti, sopranist; Sivenio: Marcello Lippi, bass; Egaro: Andrea Favari, bass. A mediocre recording with some horrible singing. Libretto in Italian only. US | UK | DE | FR | CA | JP Reissued on Brilliant Classics 93351 in 2007. US | UK | FR | DE | CA | JP |
| Vivaldi. Tito Manlio. (RV 738, Mantua 1719). cpo 777096 (3 CDs, December 2005). Federico Maria Sardelli, Modo Antiquo. Tito Manlio: Elizabeth Scholl, soprano; Vitellia: Rosa Domínguez, mezzo-soprano; Servilla: Lucia Sciannimanico, mezzo-soprano; Tito: Sergio Foresti, bass; Lindo: Bruno Taddia, baritone; Geminio: Davide Livermore, tenor; Decio: Thierry Grégoire, countertenor; Lucio: Nicki Kennedy, soprano. This recording cuts much recitative, shortens many arias so that they end abruptly in the middle, and adds as an appendix a second version of 'Tu dormi in tante pene' (Servilia) with obligato recorder. It's a very good performance and recording which I would recommend in preference to the heavily cut Opus 111 recording, if you buy only one. The libretto is much better than the one in the Arsilda recording, but it wasn't proofread. This is a great opera that deserves a better recording. US | UK | DE | FR | CA | JP |
| Vivaldi. Tito Manlio. (RV 738, Mantua 1719). Naïve / Opus 111 OP30413 (3 CDs, November 2005). Ottavio Dantone, Accademia Bizantina. Tito Manlio: Karina Gauvin, soprano; Vitellia: Marijana Mijanović, mezzo-soprano; Sevilia: Ann Hallenberg, mezzo-soprano; Tito: Nicolà Ulivieri, baritone; Lindo: Christian Senn, bass; Geminio: Mark Milhofer, tenor; Decio: Barbara Di Castri, mezzo-soprano; Lucio: Debora Beronesi, mezzo-soprano. Much recitative was cut, along with three arias and many B sections, despite plenty of room on 3 CDs for the complete opera. However, some recitative that was cut in the old Philips recording is restored here. If you have the Philips LP set, it's easier to follow the full-size libretto, which contains the same English translation and a German translation that Opus 111 failed to include. This is a disappointing, HUP performance that I would characterize as 'Spinosi Lite', as his weird performance practices spread across Europe like the Bird Flu. There are savage attacks at every opportunity, especially in fast arias, long crescendos that were unknown when this opera was composed, and non-historically ornamented B sections with sustained notes in lieu of the 'divisions'. At least it lacks the constant, squeezebox dynamics of the Spinosi recordings and consequently is not a complete loss. US | UK | DE | FR | CA | JP |
| Vivaldi. La Candace o siano Li veri amici. (RV 704, Mantua 1720). Most music apparently lost. 11 arias and one quartet survive. |
| Vivaldi. Tito Manlio. (RV Anh. 56, Rome 1720). Each act was by a different composer. Act I: Gaetano Bono; Act II: Giovanni Giorgi; Act III: Vivaldi. A few of Vivaldi's arias correspond with the 1719 version. (Cross). 19 arias and 1 chorus survive. |
| Vivaldi. La Verità in Cimento. (RV 739, Venice 1720). Opus 111 (Naïve) OP 30365 (3 CDs, May 2003). Booklet (pdf). Jean-Christophe Spinosi, Ensemble Matheus. Damira: Nathalie Stutzmann; Rosane: Gemma Bertagnoli; Melindo: Sara Mingardo; Rustena: Guillemette Laurens; Zelim: Philippe Jaroussky; Mamud: Anthony Rolfe-Johnson. Despite a first rate cast, Spinosi has made a complete hash of this opera, producing a nearly unbearable recording. The non-HIP strumming guitar continuo and vocalists repeatedly attack notes, and virtually every phrase includes an extreme crescendo or diminuendo -- the aural equivalent of a chimp spattering balloons of paint on a canvas. (Jommelli, born in 1714, is credited with the invention of crescendo and diminuendo. Details.) In comparison, the early Malgoire swell and fade seem rather innocuous. US | UK | DE | FR | CA | JP |
| Vivaldi. Filippo, Rè di Macedonia. (RV 715, Venice 1721). Most music apparently lost. Only Act III was composed by Vivaldi. Acts I and II were by G. Boniventi. |
| Vivaldi. La Silvia. (RV 734, Milan 1721). Ligia Digital 203090 (1 CD 2000). Dramma pastorale in 3 acts. Reconstruction of 22 arias from surviving sources, with no recitative. Gilbert Bezzina, Ensemble Baroque de Nice. Silvia / Elpino / Nerina: Roberta Invernizzi; Tirsi: Gloria Banditelli; Niso: John Elwes; Faustulo: Philippe Cantor. Excellent notes by Frédéric Delaméa, including comparisons of texts from the La Silvia printed libretto with the texts of other Vivaldi arias determined to have used the same or similar music. While the notes are translated into English, the aria texts are not. US | DE | FR | CA | JP |
| Vivaldi. Ercole su'l Termodonte. (RV 710, Rome 1723). Virgin Classics 5099 94545 09 (2 CDs, November 2010). Details. Booklet (pdf). Fabio Biondi, Europa Galante. Martesia: Diana Damrau, soprano; Orizia: Patrizia Ciofi, soprano; Antiope: Vivica Genaux, mezzo-soprano; Ippolita: Joyce DiDonato, mezzo-soprano; Teseo: Romina Basso, mezzo-soprano; Alceste: Philippe Jaroussky, countertenor; Ercole: Rolando Villazón, tenor; Telemone: Topi Letihpuu, tenor. Video interviews in English & excerpts: Romina Basso / 'Scorre il fiume mormorando' / 'Occhio che il sol rimira'; Maria Grazia Schiavo / 'Amato ben' / 'Da due venti un mar turbato'; Vivica Genaux; Emanuela Galli; Stefanie Iranyi; Philippe Jaroussky; Carlo Vincenzo Allemano; Filippo Adami. This is an above average Vivaldi recording. For an arguably better cast but lower fidelity, you can download MP3s of the radio broadcast with Invernizzi, Galli, Irányi, Allemano & Adami. There are so many substitutions and new compositions that it amounts to a pasticcio. (The DVD recording of a vulgar modern production is literally an example of the emperor having no clothes.) US | UK | FR | DE | CA | JP |
| Vivaldi? La Ninfa Infelice e Fortunata. (Treviso 1723). This anonymous pasticcio reused a number of arias from Vivaldi's La Verità in Cimento. It marked the operatic debut of Anna Girò. Frédéric Delaméa writes in the liner notes to the Opus 111 recording of La Verità that it 'bears the stamp' of Vivaldi. |
| Vivaldi. Il Tigrane (La virtù trionfante dell'amore e dell'odio). (RV 740, Rome 1724). Only Act II was composed by Vivaldi. Act I and the intermezzo were composed by B. Micheli, and Act III by N. Romaldo. Hungaroton HCD 32320 (1 CD - Act II only, November 2004). Details. Pál Németh, Savaria Baroque Orchestra. Tigrane: Artur Stefanowicz, countertenor; Mitradate: Timothy Bench, tenor; Cleopatra: Mónika González, soprano; Oronte: Zsolt Molnár, baritone; Apamia: Ildikó Szakács, soprano; Clearte: Barnabás Hegyi, countertenor; Arbante: László Jekl, bass. For a concert performance, the missing first act was reconstructed by Pál Németh. Details. US | UK | DE | FR | CA | JP |
| Vivaldi. Giustino. (RV 717, Rome 1724). Bongiovanni GB 2307/10-2 (4 CDs 2002). Estevan Velardi, Alessandro Stradella Consort. Giustino: Gianluca Belfiori Doro, countertenor; Leocasta: Linda Campanella, soprano; Arianna: Silvia Bossa, soprano; Anastasio: Manuela Custer, mezzo-soprano; Vitaliano: Leonardo de Lisi, tenor; Andronico: Christiana Emoli, mezzo-soprano; Amanzio: Cristiana Presutti, soprano; Polidarte: Vincenzo Di Donato, tenor; La Fortuna: Francesca Tancredi, soprano. Includes every note that Vivaldi wrote, even passages that he deleted, and has quite slow speeds, especially for the recitatives. Stanley Sadie, Gramophone, 9/02. I would add that despite the leisurely pace, it is not an unpleasant recording. The words in the recitatives are easy to hear at the slow speed. Many of the arias are self-borrowings from other works and will be familiar from other recordings. There is an aria with obbligato salterio (hammered dulcimer) played by Marco Muzzati. US | UK | DE | FR | CA | JP |
| Vivaldi. Giustino. (RV 717, Rome 1724). Virgin VCD 5455182 (2 CDs 2002). Alan Curtis, Il Complesso Barocco. Arianna: Dominique Labelle, soprano; Giustino: Francesca Provvisionato, mezzo-soprano; Leocasta: Geraldine McGreevy, soprano; Amanzio: Laura Cherici, soprano; Vitaliano / Polidarte: Leonardo De Lisi, tenor; Anastasio: Marina Comparato, mezzo-soprano. Omits 13 of 42 arias and most recitative, 'leaving holes in the plot that have to be explained in the synopsis.' Anthony Hicks, Early Music Review, 9/02. This is effectively a highlights disk. Not a great performance, but generally not unpleasant. US | UK | DE | FR | CA | JP |
| Vivaldi. Giustino. (RV 717, Rome 1724). Tactus. Forthcoming. Sandro Volta. |
| Vivaldi. L'inganno trionfante in amore. (RV 721, Venice 1725). Music apparently lost. |
| Vivaldi. Cunegonda. (RV 707, Venice 1726). Music apparently lost. Probably a pasticcio arranged by Vivaldi. (Cross). |
| Vivaldi. La fede tradita e vendicata. (RV 712, Venice 1726). Music apparently lost. Revived in 1750 as Ernelinda (RV Anh. 45), probably a pasticcio with music by Vivaldi, Gasparini and Galuppi. (Cross). |
| Vivaldi. La tirannia castigata. (RV Anh. 55, Prague 1726). Music apparently lost. 'Only arias by Vivaldi (from other operas?). Recitatives by Antonio Guerra. Probably arranged by Antonio Denzio using material from La costanza trionfante, in which he sang Artabano.' (Cross). |
| Antonio Vivaldi. Dorilla in Tempe. (RV 709, Venice 1726). Pierre Verany PV794092 (2 CDs 1994). Gilbert Bezzina, Ensemble Baroque de Nice. Dorilla: Maria Cristina Kiehr, soprano; Elmiro: John Elwes, tenor; Admeto: Philippe Cantor, baritone; Nomio: Jean Nirouët, countertenor; Eudamia: Consuelo Caroli, mezzo-soprano; Filindo: Laure Florentin, soprano. The surviving score is of a 1734 pasticcio arranged by Vivaldi based on the 1726 version that includes 3 arias by Hasse ('Mi lusinga il dolce affetto', 'Saprò ben con petto forte' & Non ha più pace il cor amante'), 2 or 3 by Giacomelli ('Rete, lacci e strali adopta', 'Non vo' ch'un'infedele' & by elimination, Strohm suggests 'Bel piacer saria d'un core' (the text comes from Metastasio's Semiramide for which Giacomelli's original music (Milan 1730) is lost, & it's not from the Porpora or Vinci settings)), 1 by Leo ('Vorrei da lacci sciogliere'), 1 by Sarri('Se ostinata a me resisti'), and 4 other arias that may not have been composed by Vivaldi ('La speranza ch'in me sento', 'Se al mio ben rivolgo il ciglio', 'Come l'onde in mezzo al mar' & 'Se amarti non poss'io'). The best of Bezzina's Vivaldi opera recordings. Highly recommended! US | UK | DE | FR | CA | JP Reissued in April 2008. FR | DE |
| Vivaldi. Il Farnace. (RV 711, Venice 1727). Virgin Classics (3 CDs, September 2011). Booklet (pdf). Diego Fasolis, I Barocchisti. Farnace: Max Emmanuel Cencic, countertenor; Tamiri: Ruxandra Donose, mezzo-soprano; Giliade: Karina Gauvin, soprano; Selinda: Ann Hallenberg, mezzo-soprano; Berenice: Mary-Ellen Nesi, mezzo-soprano; Pompeo: Emiliano Gonzalez-Toro, tenor. This is one of the finest Vivaldi opera recordings. Highly recommended! US | UK | FR | DE | CA | JP |
| Vivaldi (complete) & Corselli/Courcelle (a few excerpts). Farnace. Alia Vox AV 9822. (3 CDs 2002). Booklet (pdf). Jordi Savall. Le Concert des Nations. Farnace: Furio Zanasi, bass; Berenice: Adriana Fernández, soprano; Gilade: Cinzia Forte, soprano; Tamiri: Sara Mingardo, contralto; Selinda: Gloria Banditelli, contralto; Pompeo: Sonia Prina, contralto; Aquilio: Fulvio Bettini, baritone. This live recording is a major disappointment -- it's even worse than Savall's 1991 recording of Martín y Soler's Una Cosa Rara! In the ugly, modern staging depicted in numerous color photos in the heavy and glossy but substantively deficient mini-book, the singers dashed about on stage, frequently facing away from the audience. As a consequence, at times they cannot be heard over the orchestra. The Corselli movements are of minor historical interest, but have no relation whatsoever to Vivaldi and are not representative of the (much better) arias selected by Vivaldi for his pasticcios Dorilla in Tempe, Rosmira Fedele, and Bajazet. US | UK | FR | CA | DE | JP Reissued in 2009 on Naïve/Opus 111: US | UK | FR | DE | CA | JP To make sense of the editions recorded, see the favorable review by Anthony Hicks in Early Music Review 85: 16-17 (November 2002). Further to Mr. Hicks' review, here are the cast lists and notes for Farnace compiled by Eric Cross in Appendix I to The Late Operas of Antonio Vivaldi 1727-1738, vol. 1 (UMI 1981): Carnival 1727, S. Angelo, Venice: Maria Maddalena Pieri (Farnace) 'Of the two different scores in Turin, Giordano 37, dated in Vivaldi's hand '1738', is almost certainly for the projected Ferrarese performances in Carn. 1739. The date of Giordano 36 is uncertain. The score does not correspond with the printed librettos of 1727, 1730, 1732 or 1737. It is possibly for Leghorn 1729.' Autumn 1727, S. Angelo, Venice: Lucia Lancetti (Farnace) 'Several newly composed arias by Vivaldi.' Spring 1730, Sporck, Prague: 'Probably arr. Denzio not Vivaldi. Includes a buffo role and 5 new arias not by Vivaldi.' May 1731, Pavia. Carnival 1732, Arciducale, Mantua: 'New arrangement probably by Vivaldi himself.' Carnival 1737, Dolfin, Terviso. 2nd Carnival 1739, Bonacossi, Ferrara: Giordano 37 - Autograph Acts I and II only. 'This performance probably never actually took place (see Cavicchi, 76).' |
| Vivaldi. Impermestra. (RV 722, Florence 1727). Music apparently lost. |
| Vivaldi. Siroe, Rè di Persia. (RV 735, Reggio Emilia 1727). Music apparently lost. |
| Vivaldi. Orlando furioso. (RV 728, Venice 1727). cpo 777 095-2 (3 CDs, March 2008, recorded in 2002). Federico Maria Sardelli, Modo Antiquo, Coro da Camera Italiano. Orlando: Anne Desler, mezzo-soprano; Angelica: Nicki Kennedy, soprano; Alcina: Marina de Liso, mezzo-soprano; Medoro: Luca Dordolo, tenor; Bradamante: Lucia Sciannimanico, mezzo-soprano; Ruggiero: Thierry Grégoire, countertenor; Alfonso: Martin Kronthaler, baritone. There was a partial release of this recording on 2 CDs in 2003 on Amadeus AMS 078/79. US | UK | FR | DE | CA | JP |
| Vivaldi. Orlando furioso. (RV 728, Venice 1727). Opus 111 (Naïve) OP 30393 (3 CDs, October 2004). Details. Jean-Christophe Spinosi, Ensemble Mattheus, Choeur Les Éléments. Orlando: Marie-Nicole Lemieux, contralto; Angelica: Verónica Cangemi, soprano; Alcina: Jennifer Larmore, mezzo-soprano; Bradamante: Ann Hallenberg, mezzo-soprano; Ruggerio: Philippe Jaroussky, countertenor; Astolfo: Lorenzo Regazzo, bass-baritone; Medoro: Blandine Staskiewicz, mezzo-soprano. Another stinker from Spinosi. This is Vivaldi on LSD. As in La Verità in Cimento, the constant alternation of sudden ff attacks and pp passages makes the recording virtually unlistenable. When you set the volume low enough to avoid ear or speaker blowout at the peaks, it is impossible to hear the the valleys. (Jommelli, born in 1714, is credited with the invention of crescendo and diminuendo. Details.) Caution: playing this miserable recording on the car stereo may provoke road rage! US | UK | FR | DE | CA | JP |
| Vivaldi. Rosilena ed Oronta. (RV 730, Venice 1728). Music apparently lost. |
| Vivaldi. Atenaide. (RV 702, Florence 1728). Naïve / Opus 111 Vivaldi Edition OP 30438 (3 CDs, September 2007). Details. Federico Maria Sardelli, Modo Antiquo. Atenaide/Eudossa: Sandrine Piau, soprano; Teodosio: Vivica Genaux, soprano; Pulcheria: Guillemette Laurens, mezzo-soprano; Varane: Romina Basso, mezzo-soprano; Marziano: Nathalie Stutzmann, contralto; Leontino: Paul Agnew, tenor; Probo: Stefano Ferrari, tenor. US | UK | FR | DE | CA | JP |
| Vivaldi. Argippo. (RV 697, Prague 1730). Dynamic CDS 626/1-2 (2 CDs, September 2009). Details / English libretto (pdf). Ondřej Macek, Baroque Ensemble Hofmusici. Argippo: Veronika Mráčková Fučíková, mezzo-soprano; Osira: Jana Bínová-Koucká, soprano; Zanaida: Pavla Štěpničková, mezzo-soprano; Silvero: Barbora Sojková, soprano; Tisifaro: Zdeněk Kapl, baritone. Some of the singing is rather amateurish, and the live recording is just OK, but overall this set is much more appealing and listenable than most of the studio recordings on Naïve/Opus 111. Dynamics and tempos are normal and never exaggerated, and there are no strumming guitars, harps, or organs. It's virtually a medley of great Vivaldi arias, with quite limited recitative. US | UK | FR | DE | CA | JP |
| Vivaldi. Avilda, regina de'Goti. (RV 696, Prague 1731). Music apparently lost. 'Only some arias by Vivaldi, probably from other operas (see Voelk, 67).' (Cross). |
| Vivaldi. Semiramide. (RV 733, Mantua 1732). According to Cross, most of the music apparently was lost, but since a recording by Alan Curtis is planned, perhaps new sources have been discovered. |
| Vivaldi. La Fida Ninfa. (RV 714, Verona 1732). Opus 111 / Naïve (3 CDs, November 2008). Booklet (pdf). Jean-Chrisophe Spinosi, Ensemble Matheus. Morasto: Verónica Cangemi, soprano; Licori: Sandrine Piau, soprano; Osmino: Philippe Jaroussky, countertenor; Elpina/Giunone: Sara Mingardo, contralto; Narete: Topi Lehtipuu, tenor; Oralto/Eolo: Lorenzo Regazzo, bass. Spinosi's first two Vivaldi opera recordings were the absolute worst of the worst -- the musical equivalent of Eurotrash contemporary stagings. Griselda is only a slight improvement, thanks to the recording engineers. This one is the worst yet. I've tried to listen to it simply to hear the arias, but I can only get partway through one disk before walking away it total disgust. The grossly exaggerated dynamics and tempos making listening an unbearable ordeal. Yet corrupt or incompetent reviewers in the mainstream media and at commercial classical magazines such as Goldberg and Gramophone consistently lavish praise on Spinosi's atrocities. US | UK | FR | DE | CA | JP |
| Vivaldi. Motezuma. (RV 723, Venice 1733). DG-Archiv 477 599-6 (3 CDs, February 2006). NewOlde.com 2006 Best Italian Baroque Opera CD Award. Alan Curtis, Il Complesso Barocco. Motezuma: Vito Priante, bass; Mitrena: Marijana Mijanović, contralto; Teutile: Roberta Invernizzi, soprano; Fernando: Maite Beaumont, mezzo-soprano; Ramiro: Romina Basso, mezzo-soprano; Asprano: Inga Kaina, soprano. [Unearthing a Treasure: The Rediscovery of Motezuma by David Vickers][David Vickers interviews Alan Curtis on Motezuma]. Only Act II has been discovered virtually intact. Much of the score has been reconstructed by Alessandro Ciccolini, with nearly all recitative in acts I and III newly composed and some arias composed based on fragmentary sources. I highly recommend this superb studio recording of a fine performance. Ciccolini's seamless insertions are impossible to detect and about the best I have heard. US | UK | DE | FR | CA | JP |
| Vivaldi. Motezuma. (RV 723, Venice 1733). Federico Maria Sardelli, Modo Antiquo. Announced several years ago but perhaps scrapped in light of the superb recording by Curtis. The Malgoire recording is a modern pasticcio of other Vivaldi arias on the original libretto. Symposium: Vivaldi's Motezuma and Exoticism in Opera Seria. Rotterdam, 11 June 2005. Michael Talbot, chair. Additional presentations by Reinhard Strohm, Steffen Voss, Enrico Careri and Melania Bucciarelli. In conjunction with a performance directed by Sardelli. Details. |
| Vivaldi. L'Olimpiade. (RV 725, Venice 1734). Opus 111 (Naïve) OPS 30-316/18. (3 CDs 2002). Rinaldo Alessandrini, Concerto Italiano. Licida: Sara Mingardo, contralto; Megacle: Roberta Invernizzi, soprano; Aminta: Laura Giordano, soprano; Argene: Mariana Kulikova, mezzo-soprano; Aristea: Sonia Prina, contralto; Clistene: Riccardo Novarro, baritone; Alcandro: Sergio Foresti, bass. Highly recommended: great libretto, opera, performance and recording. If you're new to Vivaldi opera, this would be an excellent introduction, as it rises far above the prevailing poor standards of performance. Advice to Naïve: Fire Spinosi ASAP and let Alessandrini and De Marchi take over his part of the project. US | UK | DE | FR | CA | JP |
| Vivaldi. Bajazet (Tamerlano). (RV 703, Verona 1735). Virgin VCDW 545676-2 (2 CDs, March 2005). Booklet (pdf). Pasticcio including three arias by Giacomelli, three arias by Hasse, an aria by Riccardo Broschi, and numerous arias from earlier Vivaldi operas. Recitative heavily cut and one aria (from Motezuma) omitted. Instead of a complete opera on 3 CDs, Virgin includes an unwanted DVD with videos of the singers. Fabio Biondi, Europa Galante. Idaspe: Patrizia Ciofi, soprano; Andronico: Elīna Garanča, mezzo-soprano; Tamerlano: David Daniels, countertenor; Irene: Vivica Genaux, mezzo-soprano; Asteria: Marijana Mijanović, contralto; Bajazet: Ildebrando d'Arcangelo, baritone. US | UK | FR | DE | CA | JP Reissued on Virgin 4564592 (March 2010). US | UK | FR | DE | CA | JP |
| Vivaldi. L'Adelaide. (RV 695, Verona 1735). Music apparently lost. |
| Vivaldi. Griselda. (RV 718, Venice 1735). Notes with original cast and plot summary. See John Walter Hill, 'Vivaldi's Griselda'. Journal of the American Musicological Society 31(1): 53-82 (Spring 1978). There was a performance in Templin, Germany in August 2004 by Harmonologia, Jan Tomasz Adamus, director. Griselda: Ewa Marciniec, contralto; Costanza: Olga Pasiecznik, soprano; Gualtiero: Krystian Krzeszowiak, tenor; Ottone: Marzena Lubaszka, soprano; Roberto: Joanna Dorakowska, mezzo-soprano; Corrado: Joanna Majewska, mezzo-soprano. Eric Cross prepared a new performing edition for Harmonologia. |
| Vivaldi. Griselda. (RV 718, Venice 1735). Opus 111/Naïve OP30419 (3 CDs, August 2006). Details. Jean-Christophe Spinosi, Ensemble Mattheus. Griselda: Marie-Nicole Lemieux, contralto; Ottone: Simone Kermes, soprano; Costanza: Verónica Cangemi, soprano; Roberto: Philippe Jaroussky, countertenor; Corrado: Iestyn Davies, countertenor; Gualtiero: Stefano Ferrari, tenor. While still plagued with grossly exaggerated dynamics and tempos, this is a vastly better recording than Spinosi's La Verità in Cimento and Orlando Furioso. (I would give it a D+ instead of an F.) The credit should go mostly to the recording engineers rather than the conductor. Unlike Spinosi's other recordings, it's possible on Griselda to adjust the sound so that all the music can be heard without extreme discomfort in loud passages. The violent attacks of the obnoxious, strumming guitar are not closely miked this time, although they're still present. Two of my favorite arias, Costanza's 'Agitata da due venti' and 'Ombre vane' (B section) are taken so fast in Spinosi's Griselda Grand Prix as to be quite unpleasant, despite an admirable attempt by Ms. Cangemi to keep up with the frantic and unnatural pace. Much better performances directed by Roy Goodman can be heard on Emma Kirkby's CD of Vivaldi opera arias. US | UK | DE | FR | CA | JP |
| Vivaldi. Griselda. (RV 718, Venice 1735). Naxos 8.660211/13 (3 CDs, January 2008). Booklet (pdf). Kevin Mallon, Aradia Ensemble. Griselda: Marion Newman, mezzo-soprano; Costanza: Carla Huhtanen, soprano; Roberto: Lynne McMurtry, mezzo-soprano; Corrado: Jason Nedecky, baritone; Gualtiero: Giles Tomkins, bass; Ottone: Colin Ainsworth, tenor. As in 1960s performances, Corrado and Gualtiero are transposed down an octave. But it's cheap. US | UK | FR | DE | CA | JP |
| Vivaldi. Aristide. (RV 698, Venice 1735). Music apparently lost. Dramma eroicomico per musica in one act. |
| Vivaldi. Ginevra, principessa di Scozia. (RV 716, Venice 1736). Music apparently lost. |
| Vivaldi. Demetrio. (RV Anh. 44, Venice 1737). Music apparently lost. 'Rearrangement by Vivaldi of Hasse's Demetrio, using some of his own material (see Cavicchi, 51).' (Cross). |
| Vivaldi. Alessandro nell'Indie. (RV Anh. 40, Venice 1737). Music apparently lost. 'Rearrangement by Vivaldi of Hasse's Alessandro nell'Indie.' (Cross). |
Vivaldi Edition Naive
| Vivaldi. Catone in Utica. (RV 705, Verona 1738). Naïve OP 30545 (3 CDs, August 2013). Details. Booklet (pdf). Alan Curtis, Il Complesso Barocco. Catone: Topi Lehtipuu, tenor; Emilia: Ann Hallenberg, mezzo-soprano; Cesare: Roberta Mameli, soprano; Marzia: Sonia Prina, contralto; Fulvio: Romina Basso, mezzo-soprano; Abrace: Emöke Baràth, soprano. Excellent recording -- the best recent Vivaldi opera recording. However, the English translation must have been formatted by a non-English speaker, with capitalization of every word that happened to start a line after a line break. Naïve got English capitalization right in previous releases -- see, e.g, Ottone in Villa. US | UK | FR | DE | CA | JP |
| Vivaldi. Catone in Utica. (RV 705, Verona 1737). Dynamic 403/1-2 (2 CDs 2002). Booklet (pdf). Jean-Claude Malgoire. La Grande Ecurie et la Chambre du Roy. Verónica Cangemi, Simon Edwards, Philippe Jaroussky, Liliana Faraon, Jacek Laszczkowski, Diana Bertini. Only Acts II and III survive. Malgoire constructed a Vivaldi pasticcio on the text of Act I. Substandard live recording. US | UK | DE | FR | CA | JP |
| Vivaldi. Rosmira fedele (Partenope). (RV 731, Venice 1737). Pasticcio on a libretto after La Partenope by Silvio Stampiglia, 1738. Dynamic CDS437/1-3 (3 CDs, December 2003). Gilbert Bezzina, Ensemble Baroque de Nice. Rosmira: Marianna Pizzolato, mezzo-soprano; Partenope: Claire Brua, mezzo-soprano; Arsace: Salomé Haller, soprano; Ersilla: Rossana Bertini, soprano; Armindo: Jacek Laszczkowski, sopranist; Ormonte: John Elwes, tenor; Emilio: Philippe Cantor, bass. The last surviving opera by Vivaldi. Includes borrowings from Hasse, Pergolesi, Handel, Antonio Mazzoni, Giuseppe Antonio Paganelli, Antonio Gaetano Pampani, and Girolamo Micheli. Bootleg sound at full price: a horrible live recording with lots of low frequency stage noise and applause that should have been filtered out. However, the performance is fine and the music is quite interesting. The composers of some obviously borrowed arias remain undetermined. US | UK | FR | DE | CA | JP |
| Vivaldi. L'Oracolo in Messenia. (RV 726, Venice 1737). Virgin Classics 6025472 (2 CDs, September 2012). Video / List of movements with origins. Recreated by Frédéric Delaméa as a pasticcio including arias by Giacomelli, Broschi and Hasse based on a printed libretto of the 1742 Vienna performance recently discovered in the Library of Congress. Fabio Biondi, Europa Galante. Polifonte: Magnus Staveland, tenor; Merope: Ann Hallenberg, mezzo-soprano; Epitide: Vivica Genaux, mezzo-soprano; Emira: Romina Basso, contralto; Trasimede: Julia Lezhneva, mezzo-soprano; Licisco: Franzisca Gottwald, soprano; Anassandro: Xavier Sabata, countertenor. US | UK | FR | DE | CA | JP |
| Vivaldi. Feraspe. (RV 713, Venice 1739). Music apparently lost. |
References
| Reinhard Strohm. The Operas of Antonio Vivaldi. Fondazione Giorgio Cini - Studi di musica veneta - Quaderni vivaldiani, vol. 13. Details (pdf). Olschki (2008). 2 volumes, 792 pages. ISBN: 8822256829. Since it's not well distributed outside of Italy, I ordered my copy from an Italian book dealer through AbeBooks.co.uk. |
| Peter Ryom. RV - Antonio Vivaldi. Thematisch-systematisches Verzeichnis seiner Werke (Thematic-systematic Catalogue of His Works). Breitkopf & Härtel 2007. Details with sample pages (pdf). 633 pages. This much expanded new edition of the RV thematic catalogue contains all the known works of Vivaldi with incipits for all movements and cross references showing self-borrowings. Reviewed by Clifford Bartlett in EMR 121:12-13 (October 2007). Highly recommended! US | DE |
| Eric Cross. The Late Operas of Antonio Vivaldi, 1727-1738. 2 volumes. I: 277 pages. II: 320 pages. UMI Research Press, 1981. 326 pages. I: ISBN 0835711854; II: ISBN 0835711587. Appendix I: Work List with dates, places, librettists, casts & sources. Appendix II: Borrowings. Volume II consists entirely of musical examples, including incipits for each movement in the Turin scores. US | UK |
Reinhard Strohm, 'Vivaldi's career as an opera producer.' Essays on Handel and the Italian Opera. (Oxford University Press 1985).
Cd Vivaldi Naive
Opere di Antonio Vivaldi - List of Vivaldi operas in alphabetical order with names of librettists and details on first performances.
newolde.com/vivaldi_operas.htm
Antonio VIVALDI (1678-1741)
Concerti per violino VIII ‘Il teatro'
Violin Concerto in C, Rv187 [12:23]
Violin Concerto in B minor, Rv387 [9:02]
Violin Concerto in D minor, Rv235 [10:58]
Violin Concerto in D, Rv217 [11:20]
Violin Concerto in G minor, Rv321 [8:46]
Violin Concerto in B flat, “Il Carbonelli”, Rv366 [9:30]
Le Concert de la Loge/Julien Chauvin (violin)
rec. 2019, Galerie dorée, Banque de France, Paris.
NAÏVE OP30585 [62:10]
Vivaldi Edition Naive 2020
Naïve’s Vivaldi Edition, now in its 20th year, has reached volume 63 and the eighth disc devoted to violin concertos. The original intention was to record all the nearly 450 works contained in the Foà and Giordano collection housed in the National Library of Turin, many of which had never been recorded before or heard in public for two centuries. I am afraid I have lost count of where we are in fulfilling that intention, but I really hope the series never comes to an end in my lifetime, for every new release brings remarkable and unmissable musical wonders, both in terms of musical invention and performance.
There used to be a stupid and ignorant remark passed around the self-styled progressive musical community (variously attributed to Stravinsky and Dallapiccola) that Vivaldi composed the same concerto 500 times. It is undeniable that, to produce so much and often in such a short space of time, Vivaldi did resort to time-saving technical devices (such as repetition and sequence) rather more often than any dullard composition teacher would permit from their students, but the material he subjected to repetition and seemingly infinite rows of sequence was of such freshness, originality and sheer genius, that it not only easily withstands such devices, but positively flourishes under the weight of them. Take the vivacious idea sent diving through a descending sequential row after around 1:07 in the last movement of the D minor Concerto, and you will hear exactly what I mean. And, to nail that old stupid and ignorant remark firmly into its coffin, I don’t think I’ve heard this particular musical idea in any of Vivaldi’s other works. The slow movement of the G minor Concerto could almost pass for Handel, while the divine solo theme, so eloquently played by Julien Chauvin in the slow movement of the B flat Concerto (possibly composed as a tribute to the London-based Italian violinist Giovanni Stefano Carbonelli) seems almost as if it were in homage to Purcell. In short, even if you have collected the seven previous discs in this series devoted to Vivaldi’s violin concertos, you will not have heard anything quite like what you find here. What emerges volume after volume in this magnificent series, is the boundless musical inspiration of a composer who, for all his popular appeal, remains largely undervalued by the musical public. (Not to let Stravinsky fully off the hook when it comes to his dismissal of Vivaldi’s genius, he certainly did tell Robert Craft that “Vivaldi is greatly overrated—a dull fellow who could compose the same form so many times over”.)
It has also been something of a touch of genius for Naïve to get so many and varied soloists and ensembles to record these works. Each volume features a different group of players, all of which are united by a passion for this music and a real sense of historical authority. Julien Chauvin is, apparently, the first French violinist to feature as soloist, while also appearing in the series for the first time, Le Concert de la Loge was founded in 2015 (by which time the Naïve Vivaldi Edition had already released over 50 volumes). The aim was to revisit the memory of the famous Concert de la Loge Olympique which flourished in Paris during the 1780s, was renowned as the best orchestra in the world, and was much admired by Haydn who wrote his “Paris” Symphonies for them. Unlike the original orchestra, however, which, with 40 violins and 10 doubles basses, was reputedly the biggest orchestra in Europe, Chauvin’s group is small (16 players – including 9 violins and one double bass - are listed as having participated in this Vivaldi recording), but whether or not they follow the tradition of their predecessors in dressing for every concert in brilliant sky-blue dress coats and sporting ceremonial swords, remains a mystery.
There is no mystery at all about Le Concert de la Loge following in the footsteps of their predecessors by producing playing which is both spectacular and flamboyant. Egged on by Chauvin, who is clearly a remarkably extrovert player, the orchestra bring these six concertos vividly to life through some gloriously exuberant and theatrical gestures. Indeed, the subtitle of this volume of violin concertos is “il teatro”, that title prompted by, as Cesare Fertonani puts it in his outstanding booklet notes, the intertwining “in a continuous and concrete fashion” of operatic and instrumental musical styles. None of these concertos has any direct connection with Vivaldi’s theatrical output, but all of them present something truly dramatic. The most obvious is probably the D major Concerto which, after a typically sequence-laden opening, sees Chauvin burst in with great dramatic flair and tossing off great showers of notes as if waving a glittering magician’s cloak over the proceedings. The music is full of ideas which suddenly break off and violently change direction (Fertonani describes these as “a stream of coups de théâtre”). Vivaldi certainly has given huge opportunities to imaginative and capable players to draw marvellous things from his music, and it is to this ensemble’s eternal credit that they have collectively grasped all of these and run with them in the most gloriously invigorating manner.
Marc Rochester