Editorial Board
MusicWeb International
Founding Editor Rob Barnett Editor in Chief
John Quinn Contributing Editor Ralph Moore Webmaster
David Barker Postmaster
Jonathan Woolf MusicWeb Founder Len Mullenger
Antonio VIVALDI (1678-1741) L’Olimpiade RV 125 (1734) – highlights
Sinfonia [3:47]
Act I: Quel destrier, che all’albergo è vicino [3:16] Il fidarsi della speme [7:04] Del destin non vi lagnate [4:08] È troppo spietato il barbaro fato [2:27] Più non si trovano [4:45] Mentre dormi, Amor fomenti [7:01] Ne’ giorni tuoi felici [6:20]
Act II: Per qué tanti suoi sospiri [3:58] Siam navi all’onde algenti [6:17] Tu da me dividi [1:21] Gemo in un punto e fremo [3:17]
Act III: Sciagatura, in braccro a morte [2:37] Lo seguitai felice [5:57] Non so donde viene quel tenero affetto [1:20] Via il figlio delinquente [0:45]
Sara Mingardo
(contralto) – Licida; Roberta Invernizzi (soprano) – Megacle;
Sonia Prina (alto) – Aristea; Marianna Kulikova (mezzo) – Argene;
Laura Giordano (soprano) – Aminta; Riccardo Novaro (baritone) – Clistene;
Sergio Foresti (bass) – Alcandro
Concerto Italiano/Rinaldo Alessandrini
rec. July 2002, Sala Accademica del Pontificio, Istituto di
Musica Sacra, Rome
Texts and Translations included NAÏVE OP30451 [65:04]
I
can think of only one possible reason why any lover of Vivaldi
or baroque opera would not wish to possess this CD of highlights
from L’Olimpiade: because he or she already owns the
complete recording from which they are taken. That complete
recording – still available, so far as I know, as a 3 CD set
on OP 30316 – was volume 1 in one section (‘Opere teatrali’)
of the huge Vivaldi Edition, conceived by Alberto Basso and
Naïve, aiming to record all the works (some 450 of them) by
Vivaldi which are preserved in the Biblioteca Nazionale in Turin.
When the complete recording of L’Olimpiade was issued
- in, I think, 2003 - it was received with almost uniformly
unqualified praise.
In L’Olimpiade,
Vivaldi set a libretto by Metastasio which others before and
after him also set – including Caldara (1733), Pergolesi (1735),
Leonardo Leo (1737), Niccolò Jommeli (1761), Josef Myslivecěk
(1778), Cimarosa (1784) and Paisiello (1786). The story is set
in Ancient Greece, the events taking place at the time of the
Olympic Games. The plot is of characteristically baroque complexity
but, reduced to essentials, concerns the rivalry of two suitors,
Megacle and Licida, for Aristea. The opera is studded with beautiful
arias; a disc of highlights inevitably involves much loss but
insofar as it might encourage the attention of listeners a little
wary of tackling the complete work it is obviously justified.
The packaging from Naïve – typically stylish – provides all
texts and translations (into French and English) and a comprehensive
plot summary, so it is easy to see how the extracts we hear
fit into the overall scheme of things. One minor quibble is
that the booklet is very short on background information to
the opera.
But
such a quibble fades into complete insignificance when one starts
listening to such lovely music so beautifully sung! Sit back
and enjoy the heavy - but absolutely never ponderous! - and
flexible contralto of Sara Mingardo, going over the sticks in
the horsy imagery of ‘Quel destrier’ or wishing his/her rival
suitor dreams that will serve his/her own desires in the gorgeous ‘Mentre
dormi’; or Roberta Invernizzi and Sonia Prima sharing one of
the great Vivaldian duets (I am tempted to say one of the great
operatic duets) – ‘Ne’ giorni tuoi felici’; or the delightful
and intelligent coloratura of Laura Giordano in ‘Il fidarsi
della speme’ and ‘Siam navi all’onde algenti’; or, indeed, Riccardo
Novaro’s resonant interpretation of ‘Non so donde viene quel
tenero affetto’. And much else. Or let your attention shift
to the orchestral rhythms and colours that underlie and support
all this singing – the typically vivid work of Rinaldo Alessandrini
and his Concerto Italiano.
Musicological
pedantry might concern itself with the use of female voices
in roles originally sung by castrati or might think some of
Alessandrini’s continuo work on the over-assertive side. But
to give much weight to such issues would surely involve ignoring
the clear evidence of one’s ears – this works, works wonderfully!
Reviews
from previous months Join the mailing list and receive a hyperlinked weekly update on the
discs reviewed. details We welcome feedback on our reviews. Please use the Bulletin
Board
Please paste in the first line of your comments the URL of the review to
which you refer.