This new Vivaldi release
from the enterprising BIS label combines
scores which could have been used for
an imagined Vespers on the Catholic
feast commemorating the Seven Sorrows
of the Blessed Virgin Mary – Our Lady
of Sorrows. The imagined location is
the Ospedale della Pietà in Venice,
the charitable institution for orphaned
young women with which Antonio Vivaldi
was associated for almost the whole
of his active life. The imaginary performance
could have taken place on 15 September
1727 owing to a decree by Pope Benedict
XIII early in 1727. This extended the
celebration of the feast of the Seven
Sorrows to the entire Latin Church.
Thankfully Vivaldi’s
vocal music, both sacred and secular,
is now being taken extremely seriously
with several fine recordings available.
This programme of Vespers of Sorrow
has been admirably selected and
I marvel again at Vivaldi’s genius for
consistently delivering expression,
charm and depth. The first work is the
Magnificat, RV611 which Vivaldi
wrote for mixed vocal ensemble. However
his choir at the Ospedale consisted
of women only and it is likely that
he transposed the tenor and bass parts
up an octave into the version presented
here. The Ospedale did not always have
a full-sized orchestra available and
for this performance a one-to-a-part
option has been used for both the instrumental
and vocal ensembles. In accordance with
the tradition at the time a purely instrumental
work, the Sonata al Santo Sepolcro,
RV130 for strings and basso continuo,
has been placed between the Stabat
Mater, RV621 and the Nisi
Dominus, RV608.
An inspired move is
the added percussion utilised at three
points. The music calls for particularly
strong expression and in several places
suitable embellishments have been used.
The enlarged basso continuo section
which consists of theorbo, harpsichord
and chamber organ adds significant variety
and extra colour. The Amen from
the Stabat Mater has been recorded
twice, once at a slow pace and the other
at a faster tempo; to considerable effect.
Furthermore, I really enjoyed the traditional
placing of the Salve Regina (Plainchant)
at the conclusion of the programme.
This remarkable, atmospheric
and highly-moving programme is sung
and directed by the supremely talented
young Polish counter-tenor Jakub Burzynski,
who with this disc makes his début
on BIS. In fact Burzynski sings all
the solo parts that Vivaldi wrote for
both contralto and soprano voice and
gives a special and suitably reverent
performance rich in passion and high
in intensity.
I am unfamiliar with
the Polish-based instrumental and vocal
ensemble ‘La Tempesta’ who perform with
period instruments. These early music
specialists are exceedingly secure,
strikingly expressive and display excellent
tone and texture throughout. Together
with counter-tenor Jakub Burzynski the
ensemble offer a particularly spectacular
interpretation of the Cum dederit
dilectis suis from the Nisi Dominus,
RV608. Few listeners could fail to be
moved by this remarkable movement -
the highlight of this wonderful BIS
release.
These are memorable,
moving and inspired scores that are
given outstanding performances. They
are wholly compelling, captivating and
infused with a certain liturgical mystery
and awe. The selection of the Evangelical-Reformed
Church, Warsaw as the recording venue
is an inspired choice. The BIS sound
engineers have provided superb sonics
that are exceptionally clear, detailed
and well-balanced. The annotation, complete
with full English texts, is excellent
too.
A superb release, not
to be missed! This will be my Record
of the Year!
Michael Cookson
La Tempesta/Jakub Burzynski (counter-tenor) 
