Vivaldi Edition: Le Quattro Stagioni (with bonus CD: Portrait)
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Composer: Antonio VivaldiComposer: Luca Marenzio
Composer: Alessandro Scarlatti
Composer: Johann Sebastian Bach
Composer: George Frederick Handel
Composer: Domenico Scarlatti
Composer: Claudio Monteverdi
Composer: Gioachino Rossini
Conductor: Rinaldo Alessandrini
Performer: Concerto Italiano
Performer: Ignazio Schifani
Performer: Gemma Bertagnolli
Performer: Deborah York
Performer: Maria Bayo
Performer: Nicholas Sears
Performer: Paolo Costa
Performer: Gianluca Ferrarini
Performer: Sergio Foresti
Performer: Elisabetta Tiso
Performer: Anna Simbola
Edition: Music CD
Audio: English (Published); Italian (Published); French (Published)
CD Release Date: 2003-07-15
Music Label: Opus 111
Soundtracks:
Music CD 1
- The Four Seasons (Il quattro stagione), concertos (4) for violin, strings & continuo ('Il cimento' Nos. 1-4) , Op. 8/1 - 4: Concerto
- The Four Seasons (Il quattro stagione), concertos (4) for violin, strings & continuo ('Il cimento' Nos. 1-4) , Op. 8/1 - 4: Concerto
- The Four Seasons (Il quattro stagione), concertos (4) for violin, strings & continuo ('Il cimento' Nos. 1-4) , Op. 8/1 - 4: Concerto
- The Four Seasons (Il quattro stagione), concertos (4) for violin, strings & continuo ('Il cimento' Nos. 1-4) , Op. 8/1 - 4: Concerto
- The Four Seasons (Il quattro stagione), concertos (4) for violin, strings & continuo ('Il cimento' Nos. 1-4) , Op. 8/1 - 4: Concerto
- The Four Seasons (Il quattro stagione), concertos (4) for violin, strings & continuo ('Il cimento' Nos. 1-4) , Op. 8/1 - 4: Concerto
- The Four Seasons (Il quattro stagione), concertos (4) for violin, strings & continuo ('Il cimento' Nos. 1-4) , Op. 8/1 - 4: Concerto
- The Four Seasons (Il quattro stagione), concertos (4) for violin, strings & continuo ('Il cimento' Nos. 1-4) , Op. 8/1 - 4: Concerto
- The Four Seasons (Il quattro stagione), concertos (4) for violin, strings & continuo ('Il cimento' Nos. 1-4) , Op. 8/1 - 4: Concerto
- The Four Seasons (Il quattro stagione), concertos (4) for violin, strings & continuo ('Il cimento' Nos. 1-4) , Op. 8/1 - 4: Concerto
- The Four Seasons (Il quattro stagione), concertos (4) for violin, strings & continuo ('Il cimento' Nos. 1-4) , Op. 8/1 - 4: Concerto
- The Four Seasons (Il quattro stagione), concertos (4) for violin, strings & continuo ('Il cimento' Nos. 1-4) , Op. 8/1 - 4: Concerto
- E s'io mi doglio, Amor, madrigal for 6 voices (Il secondo libro de madrigali a 6 voci)
- Magnificat for chorus & organ (del primo tono): Magnificat ... Et exultavit
- Italian Concerto, for solo keyboard in F major (Clavier-Ã?bung II/1), BWV 971 (BC L7): Allegro
- Il trionfo del Tempo e del Disinganno, oratorio, HWV 46a: Quartetto: Voglio Tempo per risolvere
- Stabat Mater, for double chorus & continuo in C minor: Stabat mater dolorosa
- Damigella tutta bella, madrigal for 3 voices (from Scherzi musicali), SV 235
- Concerto for 2 violins, cello, strings & continuo in D minor ('L'estro armonico' No. 11), Op. 3/11, RV 565: Allegro. Largo. Allegro
- L'Olimpiade, opera in 3 acts, RV 725: Sinfonia (allegro, andante, allegro)
- L'Olimpiade, opera in 3 acts, RV 725: Aria di Licida: Mentre dormi, Amor fomenti (larghetto)
- Il barbiere di Siviglia (The Barber of Seville), opera: Sinfonia
Music reviews of Vivaldi Edition: Le Quattro Stagioni (with bonus CD: Portrait)
Music Review: An ear-bending interpretation
Rating: 5 Stars
Definitely not your grandfather's Four Seasons, but a new, vibrant and original way of experiencing an old battle ax. Some may scoff at this comparison, but the genius on display here is like Sinatra's: it's all in the phrasing. Blue Eyes is famous for flirting with complete disaster in his timing, entering with vocals at the moment you think it is too late and yet it isn't, holding notes he shouldn't, failing to accent words he "should" and so on. The tension between the vocals and the instrumentals in his work is a kind of high wire act. How did he DO that? The art lies between what we expect to hear and what we actually hear. So it is here. "Not what I expected" is enough to deter purists or traditionalists, but for those willing to challenge their own musical expectations, the reward is an expanded vision of what this music can be and, more substantially, a privileged journey into the minds and bows of the artists. This is so vivid a recording and interpretation that we can project ourselves into THEIR experience of the music. Does it get better than that? Like the infamous lone oboe in the first movement of Beethoven's Fifth Symphony, these voices may seem out of place at first, but we come to understand and admire the boldness and audacity with which they were chosen. Part of me wishes at times for other choices, but how wonderful to encounter so many strong choices, such an opinionated approach, in a single place. Add to this an absolutely stunning recorded sound and you have a must have for the adventurous.
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