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Antonio VIVALDI (1678-1741) Atenaide, RV702 (1728) [3:39:55]
Sandrine
Piau (soprano – Atenaide/Eudossa); Vivica Genaux
(soprano – Teodosio); Guillemette Laurens (mezzo – Pulcheria);
Romina Basso (mezzo - Varane); Nathalie Stutzmann (contralto
- Marziano); Paul Agnew (tenor - Leontino); Stefano Ferrari
(tenor - Probo)
Modo Antiquo/Federico Maria Sardelli
rec. April 2007, Teatro della Pergola, Florence, Italy. DDD NAÏVE OP30438 [3
CDs: 76:13 + 75:27 + 68:15]
Fortunately, it’s become something of a truism that Vivaldi
is actually under-represented on disc; and that the profundity,
breadth and vibrancy of arguably the greatest portion of
his oeuvre, the operas, are only now being appreciated. Largely
from the collection of manuscripts and partial manuscripts
preserved in the Biblioteca Nazionale in Turin, nearly fify
opera libretti associated with nearly seventy productions
have been identified. Although known for his instrumental
music in our times, it was Vivaldi’s operas in settecento
Italy that made his name, and with which he was most closely
identified throughout (northern) Italy and the Habsburg empire.
A moment’s reflection on the sense of drama, tension, movement,
conflict and excitement in most of Vivaldi’s purely instrumental
music goes a long way towards explaining just why the relatively
new but nevertheless established genre of dramma per musica should
have so appealed to him.
How lucky we are, then, to have the Vivaldi Edition with the drive and
enthusiasm of its director, Alberto Basso, working so productively
with Naïve. Indeed this latest
offering, Atenaide, is a world première recording.
Already we’ve had 100 CDs; it’s planned to keep this pace
up over at least the next ten years and supplement the discs
with concerts, festivals, films/multimedia and literary events.
Atenaide was
first performed at the end of 1728 in the Pergola theatre
in Florence as a means – not successful, in the event - of
salvaging its financial viability. This was somewhat against
the wishes of impresario Luigi degli Albizzi: Vivaldi’s relations
with him were not good. Indeed the apparently quite generous
terms of the composer’s contract limited him to fulfilment
of the music alone… no say in the staging, performers or
libretto.
The libretto was in fact by the fashionable Venetian poet,
Apostolo Zeno (1668-1750). It revolves around the Byzantine
empress, Athenais, who converted to Christianity as Eudocia/Eudossa
in the fifth century CE, and the twisted relationships between
her former pursuer, Varane; the emperor Teodosio; his sister,
Pulcheria; Marziano (enamoured of Pulcheria) and Probo (rejected
by Pulcheria).
The chief rivalry is between Teodosio and Varane in their
affections for Atenaide/Eudossa.
Although she has come to marry Teodosio and is in no doubt
about the rightness of that decision, the latter engineers
(encourages, even) the (to Atenaide unwelcome) advances of
Varane for political and strategic alliances. The token of
her decision, the presentation of a jewel to whomever she
favours, is subverted by Probo. Only after Atenaide is subsequently
banished and kidnapped does Probo atone for his conduct and
arrange a happy ending.
So somewhat formulaic but with multiple opportunities for
splendid singing. At the first performance Vivaldi did somehow
manage to get his protégé, Anna Girò, into the Florentine
company to perform Pulcheria; that’s the role here taken
by Guillemette Laurens, keeping up
the tradition: outstanding singing. Atenaide also
marks the culmination of Vivaldi’s refinement of a number
of operatic elements… the established Venetian idiom, the galant style,
innovations in orchestration and vocal writing, the fully-embedded da
capo aria. This is really the first of his more mature
operas; and obviously one about which Vivaldi was sufficiently
enthusiastic to revise it in the early 1730s.
Notable
arias adapted from other of his operas include Varane’s ‘Tanto
lieto ho il core in petto’ (Act I); ‘Nel profondo cieco orrore’ at
the start of Act II; Teodosio’s ‘M’accende amor’ (Act III)
and the lovely ‘Te solo penso ed amo’ by Pulcheria a couple
of numbers later. Written freshly for Atenaide and
for the Florentine public at the first performances were ‘Son
colpevole’ (Act II), full of astute psychological insight; ‘Infausta
reggia addio’ and ‘In bosco romito’ (Act III) for Atenaide
herself. Not an aria, but an innovative monologue, the same
character’s ‘Qual demone, qual furia’ also in Act III is
particularly worthy of attention.
The action of Atenaide is relatively swift, the
momentum almost unrelenting. And the forces assembled by
Federico Maria Sardelli seem to be well aware of
the need to make what could be in some ways a rather slight
plot as intriguing and enticing as possible. They do this
well without resorting to the spuriously spectacular or sensational.
Is it fanciful to think that additional inspiration has come
from the fact that this recording was made in the same theatre,
with the same acoustic and something of the same atmosphere
as that in which it was first performed nearly 280 years
ago?
Certainly – as Sardelli, a Florentine, writes in his short
note in what is an excellent and informative booklet (although
the text is set a little too close to the edge of the page
at times) – the singers were chosen for the ways in which
their voices can be demonstrated to ‘succeed’ their eighteenth
century counterparts. His advocacy of the utmost respect
for Vivaldi’s scoring and markings (Sardelli cites the highly
individual use of pizzicato but forte strings in Act III,
scene 8, for example) is very welcome. The integrity of this
recording is one result. Moreover, it’s a highly desirable
result.
Indeed this is one of the more successful and pleasing
opera recordings from an already celebrated series. The singing
is consistently excellent – but then it should be with some
of the world’s most accomplished and celebrated Baroque and
Vivaldi specialists… Piau, Genaux,
Laurens, Stutzmann and Agnew. All of these sing (and indeed
perform: the sense of drama doesn’t let up for a moment)
with conviction, excitement and passion that it seems would
be hard to better. Sandrine Piau (Atenaide/Eudossa) is in
full command at all times; listen to her ‘Son colpevole a’ tuoi
lumi’… passion, control, flair, judgement. Guillemette Laurens
(Pulcheria) sings with an almost boisterous enthusiasm; without
rushing such arias as ‘Là sul margine del rio’ enthral and
excite. She lends a rare sense of presence to the recording.
Notably, the recitatives are sung particularly sweetly throughout – a
bridge from Handel to Mozart… every word is clear, every
nuance communicated.
The
ensemble Modo Antiquo is splendid – clear, clean, expressive
of every turn in emotion throughout the opera. The conducting
is brisk yet sensitive and the feeling of something special
yet easily attained in the way the whole is conceived and
executed is exemplary. True this will be unfamiliar music
to most. Nevertheless, it’s vintage Vivaldi and deserves
just this kind of performance. Nothing is missing. Nothing
superfluous added.