Whenever there is a
mystery about a newly discovered score
found languishing in some dusty archive
in the depths of some library, Vivaldi
often seems to be involved. It can be
difficult to distinguish between fact
and fiction in these matters despite
much detective work by musicologists.
Elaborate hoaxes can never be ruled
out. Described in the accompanying CD
booklet as a ‘long lost baroque masterpiece’
this release of the Serenata,
Andromeda liberata provides yet
another mystery which despite this recording
has still not been satisfactorily solved.
Olivier Fourés,
a musicology graduate of Lyon University
has discovered several important Vivaldi
manuscripts notably the cantata Tremori
al braccio RV 799 in Vienna in 1999.
During his researches in the archives
of the Conservatorio Benedetto Marcello
in Venice in 2002 he came across a manuscript
of an anonymous, early 18th-century
Serenata entitled Andromeda
liberata. Certain aspects of the
score struck Fourés as being
particularly Vivaldian. He undertook
a direct study of the work and discovered
that one of the arias of the
Serenata is identical to the
aria by Vivaldi with violin obbligato
titled Sovvente il sole RV
749.18. The autograph manuscript of
that aria exists in the same
Venetian archives and its original context
is known. The discovery that this Serenata
or part of it may have been composed
by Vivaldi has caused a great deal of
interest and debate in the classical
music world.
The Andromeda liberata
was nearly consigned to the sad
fate that had befallen countless other
unknown manuscripts held in archives
throughout Europe and condemned to hundreds
more years of obscurity. The mystery
of authorship still remains. Can we
deduce from the aria, Sovvente il
sole that the entire Serenata
is by Vivaldi or is the score a
pasticcio that compiles works
by different composers? A Serenata
is a musical genre that originated in
the middle of the seventeenth century
which lies roughly half-way between
a cantata and an opera. Often
performed outdoors and in an evening
a Serenata was frequently accompanied
by magnificent banquets with other entertainments
such as masked balls, fireworks and
games. The primary intention was to
celebrate a notable event such as a
wedding, birthday or significant anniversary.
The Andromeda liberata would
almost certainly contain symbolic and
political references in the libretto
and music to the person or persons around
whom the event revolved.
The work’s fantastic
scenario originates from a free interpretation
from Greek mythology of the heroine
Princess Andromeda’s marriage to the
hero Perseo, the young son of Jupiter
and Danae, Princess of Argos. Andromeda
is the daughter of King Cepheus and
Queen Cassiope, the rulers of Ethiopia.
Before the action begins Queen Cassiope’s
vanity arouses the indignation of the
Nereids (sea-nymphs), who regard themselves
as even more beautiful than she is.
Revenge comes swiftly and the sea-god
Poseidon sends a sea-monster to ravage
Ethiopia. In his despair King Cepheus
asks an oracle how he can save his country,
and is told that the only way is to
sacrifice his daughter. Princess Andromeda
is left naked and chained to a rock
to be devoured by the sea-monster. The
hero Perseo is on his way home to the
island of Seriphus after having slain
the gorgon Medusa. Perseo looks down
and beholds the Princess Andromeda in
her plight. He slays the monster and
turns it to stone by showing it the
Medusa’s head, releases Andromeda from
her terrible plight and promptly falls
in love with her. The Serenata commences
and we discover that Andromeda is already
in love with Daliso, a young foreigner.
After various vicissitudes there is
a happy ending. In gratitude for rescuing
Andromeda, the King and Queen of Ethiopia
bestow on Perseo their daughter’s hand
in marriage.
The date of 18 September
1726 entered on the manuscript score
together with other historical evidence
suggests that this Andromeda liberata
was composed in honour of a music-loving
and distinguished Cardinal Pietro Ottoboni
(1667-1760). It was performed shortly
after his celebrated and controversial
return to Venice on the 21 July 1726.
Cardinal Ottoboni had suffered political
banishment from Venice in 1712 for an
infringement of the Republic’s laws.
He had a great love of music and championed
the works of many composers, including
Corelli, Alessandro Scarlatti and Handel.
The Cardinal was also a leading member
of the eminent Accademia Arcadiana in
Rome and the dedicatee of numerous musical
works. He wrote librettos for many well-known
composers and owned a major collection
of scores.
The scenario and libretto
could be considered to include a number
of symbolic parallels and analogue references
relating to Cardinal Ottoboni’s celebrated
return to Venice. The adventures of
the hero Perseo, who serves as a saviour,
a kind of ‘mythological knight in shining
armour’, possibly represents the banished
Ottoboni. In addition the heroine Princess
Andromeda may symbolize the suffering
city of Venice. Furthermore the antagonist
Daliso is not in the original myth and
is a character invented specifically
for the Serenata’s scenario.
Daliso could denote the political obstacles
that Ottoboni had to overcome in order
to return to his beloved native city.
There is no evidence
in the Serenata genre that one
has ever been made up of the works of
other composers in the pasticcio
form. This could be a factor in favour
of the work being by Vivaldi. Recently
I read that Michael Talbot, the musicologist
and Vivaldi specialist believes that
there are identifiable signs that some
of Vivaldi's leading Italian contemporaries
such as Tomaso Albinoni and Giovanni
de Porta were involved in the Serenata.
In fact, on the amazon.co.uk website
they have the composers of this release
Andromeda liberata indicated
as being by ‘Vivaldi, Albinoni and Porta
et al’.
Andromeda liberata
is scored for five solo voices, chorus
and an orchestra of trumpets, horns,
oboes, strings, and basso continuo.
Commencing with an orchestral Sinfonia
the score is divided into two generally
equal parts and comprises in total thirty-six
typically short sections alternating
recitativo and aria. The
chorus is used exceedingly sparingly
appearing in the opening and concluding
arias of the score. Furthermore,
all but one of the eighteen arias
are for solo performers, of which
there are five: the sopranos, Andromeda
and Cassiope; Meliso, a mezzo-soprano;
Perseo, a counter-tenor and Daliso,
a tenor. Only one of the arias
is for more than one performer and this
the love-duet of Andromeda and Perseo
which is positioned as the penultimate
aria of the work.
Under the impeccable
direction of Andrea Marcon the Serenata
is given exceptional advocacy by
successful late-baroque specialists,
the Venice Baroque Orchestra. Their
imaginative performance exudes refinement
and controlled power. These new-generation
Vivaldi specialists certainly deserve
their position as one of the world’s
most outstanding period instrument ensembles.
The twenty strong vocal group La Stagione
Armonica continue to impress although
the score demands that they are only
required to accompany a soloist in two
short arias. The five soloists
have been skilfully chosen and come
across as admirably suited to the late-baroque
repertoire of Vivaldian Venice. Czechoslovakian
born soprano Katerina Beranova is clear,
smooth and elegant in her interpretation
of the role of Cassiope and sings particularly
finely in the aria, Quando chiudere
pensai. Max Emanuel Cencic the Austrian
counter-tenor, as Perseo, also impresses
especially in the higher registers.
Our hero Perseo’s substantial aria,
Sovvente il sole, which we know
was composed by Vivaldi, is superbly
sung with style and substantial character.
As Meliso, the Italian mezzo-soprano
Anna Bonitatibus is in fine condition
and well controlled especially in her
challenging aria, Ruscelletti limpidetti.
Tenor, Mark Tucker, who I believe is
English-born, offers a characterful
and expressive interpretation in his
role as Daliso. However I would have
preferred less vibrato and more smoothness
of line. I was delighted by a stunning
performance full of drama, imagination
and ardour from soprano Simone Kermes,
as the heroine Andromeda. The part of
Andromeda is a demanding one and with
seven arias, including
the love duet with Perseo, the German
soprano’s interpretations are extremely
impressive and superbly controlled.
Bright and even in line, Kermes has
a beautiful colouring to her voice that
is heard to great effect throughout.
The Archiv Produktion
engineers have produced a really fine
recorded sound: well-balanced and natural.
The attractive double set includes top
class annotation that is difficult to
find any significant fault with. Is
Andromeda liberata a work by
Vivaldi? After listening to this release
several times I can say that it sounds
like it could be! I don’t think the
Serenata is a collaborative venture
as I feel that it is the work of one
hand. If the score is from Vivaldi it
is not anywhere close to being one of
his finest works as there is a sense
of being hurried; perhaps to meet the
deadline of Cardinal Ottoboni’s return.
But who knows, the enigma remains!
A fascinating, well
performed and recorded release that
will appeal to those interested in the
Italian late-baroque.
Michael Cookson
Simone Kermes, as Andromeda (soprano) 
