Vivaldi: Orlando furioso (Vivaldi Edition)

Vivaldi: Orlando furioso (Vivaldi Edition)

Vivaldi: Orlando furioso (Vivaldi Edition)
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CD Details

Composer: Antonio Vivaldi
Conductor: Jean-Christophe Spinosi
Orchestra: Ensemble Matheus
Performer: Marie-Nicole Lemieux
Performer: Jennifer Larmore
Performer: Veronica Cangemi
Performer: Philippe Jaroussky
Performer: Lorenzo Regazzo
Performer: Ann Hallenberg
Performer: Blandine Staskiewicz
Edition: Music CD
Audio: German (Published)
CD Release Date: 2005-01-18
Music Label: Naive
Soundtracks:
Music CD 1
  1. Sinfonia (Concerto in D major per archi e cembalo, RV 116). Allegro
  2. Sinfonia (Concerto in D major per archi e cembalo, RV 116). Andante
  3. Sinfonia (Concerto in D major per archi e cembalo, RV 116). Allegro
  4. Act 1. Scene 1. Recitativo
  5. Act 1. Scene 1. Aria. Un raggio di speme
  6. Act 1. Scene 2. Recitativo
  7. Act 1. Scene 2. Aria. Alza in quegl'occhi
  8. Act 1. Scene 3. Recitativo
  9. Act 1. Scene 3. Aria. Costanza tu m'insegni, e vuoi ch'io speri
  10. Act 1. Scene 4. Recitativo
  11. Act 1. Scene 4. Aria. Asconderò il mio sdegno
  12. Act 1. Scene 5. Recitativo
  13. Act 1. Scene 5. Aria. Nel profondo
  14. Act 1. Scene 6. Recitativo
  15. Act 1. Scene 7. Recitativo
  16. Act 1. Scene 8. Recitativo
  17. Act 1. Scene 8. Aria. Tu sei degl'occhi miei
  18. Act 1. Scene 8. Recitativo
  19. Act 1. Scene 8. Aria. Troppo è fiero, il Nume Arciero
  20. Act 1. Scene 9. Recitativo
  21. Act 1. Scene 9. Aria. Rompo i ceppi
  22. Act 1. Scene 10. Recitativo
  23. Act 1. Scene 11. Recitativo
  24. Act 1. Scene 11. Aria. Sol da te, mio dolce amore
  25. Act 1. Scene 12. Recitativo
  26. Act 1. Scene 13. Recitativo
  27. Act 1. Scene 13. Aria. Amorose ai rai del sole
Music CD 2
  1. Act 2. Scene 1. Recitativo
  2. Act 2. Scene 1. Aria.
  3. Act 2. Scene 3. Aria.
  4. Act 2. Scene 2. Aria.
  5. Act 2. Scene 4. Recitativo
  6. Act 2. Scene 4. Aria.
  7. Act 2. Scene 2. Recitativo
  8. Act 2. Scene 11. Recitativo
  9. Act 2. Scene 11. Aria.
  10. Act 2. Scene 3. Recitativo
  11. Act 2. Scene 4. Recitativo
  12. Act 2. Scene 5. Recitativo
  13. Act 2. Scene 5. Aria.
  14. Act 2. Scene 6. Aria.
  15. Act 2. Scene 12. Recitativo
  16. Act 2. Scene 7. Recitativo
  17. Act 2. Scene 8. Recitativo
  18. Act 2. Scene 9. Recitativo
  19. Act 2. Scene 10. Recitativo
  20. Act 2. Scene 10. Aria.
  21. Act 2. Scene 10. Aria.
  22. Act 2. Scene 11. Coro.
  23. Act 2. Scene 12. Duetto.
  24. Act 2. Scene 11. Recitativo accompagnato
  25. Act 2. Scene 11. Coro.
  26. Act 2. Scene 11. Recitativo
  27. Act 2. Scene 11. Coro.
  28. Act 2. Scene 11. Recitativo
  29. Act 2. Scene 12. Duetto.
  30. Act 2. Scene 12. Recitativo
Music CD 3
  1. Act 3. Scene 5. Canzon e recitativo
  2. Act 3. Scene 4. Recitativo
  3. Act 3. Scene 6. Recitativo
  4. Act 3. Scene 7. Recitativo
  5. Act 3. Scene 6. Recitativo
  6. Act 3. Scene 5. Recitativo
  7. Act 3. Scene 3. Recitativo
  8. Act 3. Scene 1. Recitativo
  9. Act 3. Scene 11. Recitativo
  10. Act 3. Scene 9. Recitativo
  11. Act 3. Scena ultima. Aria.
  12. Act 3. Scene 3. Recitativo accompagnato
  13. Act 3. Scene 10. Recitativo
  14. Act 3. Scene 3. Recitativo
  15. Act 3. Scene 10. Recitativo accompagnato
  16. Act 3. Scena ultima. Recitativo accompagnato
  17. Act 3. Scene 8. Recitativo
  18. Act 3. Scene 3. Aria.
  19. Act 3. Scene 2. Recitativo
  20. Act 3. Scene 10. Recitativo
  21. Act 3. Scene 9. Aria.
  22. Act 3. Scene 5. Recitativo
  23. Act 3. Scene 12. Recitativo
  24. Act 3. Scene 5. Aria.
  25. Act 3. Scene 8. Aria.
  26. Act 3. Scene 10. Aria.
  27. Act 3. Scena ultima. Recitativo
  28. Act 3. Scena ultima. Recitativo

Music reviews of Vivaldi: Orlando furioso (Vivaldi Edition)

Music Review: An Unheralded Vivaldi Masterwork Given a First-Class Production
Rating: 5 Stars

Composer Antonio Vivaldi may always stand in the shadow of his contemporary Handel when it comes to Baroque compositions, and the distinction between the two is further blurred by the fact that both composed operas based on the same epic poem, Ludovico Ariosto's "Orlando furioso". Vivaldi's 1727 opera came about eight years prior to Handel's "Alcina". Unsurprisingly, while several recordings of "Alcina" have been produced (including a particularly strong one of the 1999 William Christie-conducted Paris Opera production with Renee Fleming and Susan Graham released in 2000), this is the first full recording of Vivaldi's work, part of the Naive label's commitment to bring Vivaldi's largely unknown but beautifully composed operas to light.

Based on this stellar ensemble performance, I would argue that "Orlando furioso" is the stronger of the two works based on the recitatives, which are far more dramatically gripping, and the arias which not only showcase splendid voices but provide an intractable context for the intense drama of the story. The lush performance here captures Vivaldi's insinuating melodies which are full of voluptuous ornamentation. The shimmering orchestral passages are complemented by vibrant choruses that mirror the dramatic shifts in Grazio Braccioli's treatment of Ariosto's eventful poem. His libretto manages to keep the essence of the story but deepens the humanity in blending epic history with the supernatural. Similar to Handel's "Alcina", Vivaldi depicts a set of lively gallery of characters with individualistic personalities in a fanciful plot that moves at a breakneck pace.

At the center are two storylines that complement each other, the grand sweep of Orlando's madness and the tragedy of Alcina's downfall. In the title role as Charlemagne's nephew who falls deeply in love with Angelica, arguably the most dramatically challenging of the ensemble, Marie-Nicole Lemieux, a young contralto from Quebec, must make sense of the lovesick knight, and she does it with passionate delivery and a superb lower register. The richness of her tone is necessary to reflect Orlando's decline into dementia at the end of Act II and the series of "mad scene" monologues in Act III. As Alcina, mezzo-soprano Jennifer Larmore brings an imperious tone and supple edge to the powerful but doomed sorceress, who suffers for her love of Astolfo and then of Ruggiero. Soprano Veronica Cangemi brings a lovely, ethereal quality to the role of Orlando's beloved Angelica.

Bass-baritone Lorenzo Regazzo brings a palpable lushness to his vocally powerful characterization of Astolfo, and the proud female warrior Bradamante is sung by mezzo soprano Ann Hallenberg with stunning verve. As the valiant Ruggiero, rising countertenor Philippe Jaroussky is outstanding, and his arias provide the most poignant moments of this production He is particularly adept at blending his ethereal sound with all the very different voices of the other singers. Under the fluent direction of Baroque specialist Jean-Christophe Spinosi, the Ensemble Mateus proves expert in accommodating the variety of voices with instrumental nuance. If nothing else, this superb recording will introduce Vivaldi to a new generation unfamiliar with his dexterity in the Baroque genre.
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Description of Vivaldi: Orlando furioso (Vivaldi Edition)

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