In what must have been
a monumental undertaking, Frédéric
Delaméa and Rinaldo Alessandrini,
have reconstructed a magnificent Vespers
service as it might have taken place
in Vivaldi’s time and under his direction.
The music as it is presented here would
have been performed on a high feast
day, in this case, the feast of the
Ascension of the blessed virgin. Clocking
in at well over two hours, these services
must have been major productions, and
as contemporary accounts attest, were
treated by the attending public much
in the same manner as a performance
in the theatre.
Alessandrini has opted
to use a concerto whose character is
suitably solemn for the occasion as
a kind of sacred overture, a practice
that has significant historical documentation.
Amongst a number of interesting features
in this recording are the decorated
plainchant antiphons, which precede
the settings of the psalms and magnificat.
It had become rather commonplace in
Vivaldi’s day to accompany the singing
of Gregorian melodies on the organ.
This harmonization of the heretofore-unaccompanied
chants completely changed their character,
and led to the addition of baroque style
embellishments by the singers that met
with both approval from the innovators
and disdain from the purists. For this
recording, the antiphons were reconstructed
in a style more common to composers
before Vivaldi, as it is perhaps rightly
assumed that composing a new accompaniment
for these so-called ariettas would have
been cumbersome, thus causing a composer
such as Vivaldi to use pre-existing
music.
Alessandrini has assembled
an outstanding roster of musicians for
these discs. Although all of the soloists
are of notable ability, it is perhaps
the females that get the lion’s share
of the glory here. This is no doubt
owing to Vivaldi’s position as musical
director in the Ospedale della Pieta,
a home and school for orphaned and destitute
girls, which was famous for its outstanding
music. Vivaldi composed reams for his
female students there.
There are two standout
soloists here. First, the soprano Gemma
Bertagnolli, who embodies everything
that I love in a singer, and a few things
that I hate. Ms. Bertagnolli shines
in the splendid Laudate pueri,
singing with a full, exuberant, and
yes, even vibrato-laden tone. She simply
exudes spirit and conviction in this
reading, and it is a delight to hear
a woman sing like a woman in early music,
eschewing the straight tone straitjacket
in some bogus attempt to sound like
a pre-pubescent boy. There are parts
of this performance that are absolutely
ravishing, such as the stunningly beautiful
Sit nomen domine. There are a
couple of flaws, however, and their
absence would have made this impressive
performance absolutely breathtaking.
One is the apparent lack of ability
to sing long melismatic phrases in a
single breath. The resulting broken
lines are further injured by Ms. Bertagnolli’s
less-than-subtle gasps for oxygen replenishment.
The second is the rather aspirated fast
coloratura passages that begin in time
to sound more like gunfire than singing.
The other standout
is contralto Sara Mingardo. Hers is
an instrument of lovely burgundy and
amber hues, and although I found that
at times she used too much pressure
in the chest voice, her performance
of the Nisi dominus is remarkable
for its sustained lines and agile coloratura.
Hers is a voice of great warmth and
expression, very soothing to the ear.
Soprano Anna Simboli,
whose more clarion tone is a pleasing
contrast to that of Ms. Bertagnolli,
also turns in some excellent performances,
her duties being primarily the singing
of the numerous introductory antiphons.
The two instrumental
concerti are played with a sobriety
and solemnity appropriate to a great
sacred occasion, but they are also infused
with a great sense of celebration, befitting
a feast day. Of particular merit is
Antonio de Secondi’s fine reading of
the Concerto RV 581. He sings with his
violin, and his clean articulation of
more virtuosic passages doubles in excitement,
as he is able to execute them with such
grace and ease.
There is nothing at
all negative to be said about the ensemble
work here. Both the orchestra and the
choir (with the minute exception of
some unwieldy trumpets) play and sing
with warmth, precision and elegance.
The sense of balance and pacing is nearly
flawless, and Alessandrini maintains
just the right equilibrium of tension,
release and contrast. The common intonation
problems and thinness of tone typical
of many period instrument performances
is eradicated here perhaps by the conductor’s
use of modern pitch (A= 440 hz), which
he claims is justified by numerous organological
sources. Whether he uses period replicas
or modern instruments is unclear in
the notes, but the ear tells me that
they are probably period tuned high.
Production values are
on the whole of the highest order. The
two lengthy essays on the music are
at times somewhat awkwardly translated,
and the layout on the page of the seemingly
endless quotes in Mr. Alessandrini’s
account are at times annoyingly confusing
and unclear. Complete texts and translations
are provided. Sound quality is excellent,
exquisitely clear and never overblown.
Listening to this assemblage
in its entirety does take a bit of an
effort on the part of the listener,
but it is an effort that pays off many
times over. This is music of infinite
contrast and variety, and the elegance
with which it is presented makes this
sizeable package very rewarding indeed.
Highly recommended.
Kevin Sutton