Third Installment of Violin Concertos in Naïve’s Landmark Vivaldi Edition

By -

The latest installment in naïve’s landmark Vivaldi Edition is the third volume dedicated to the endlessly creative violin concertos by the Venetian composer. The title of the album, “Il ballo”, refers to the strong dance influence in the seven featured works. Among these works are the first recording of the manuscript version of Concerto RV210, one of Vivaldi’s favorite violin concertos, and another of his favorites: RV333. Violinist Duilio Galfetti and I Barocchisti under the direction of Diego Fasolis make their debut in the Vivaldi Edition with this release.

naïve’s previous Vivaldi Edition recording was released just last month in the U.S. and is already receiving enthusiastic acclaim in Europe. Michael Quinn reports for the BBC:

“naïve’s ambitious Vivaldi Edition reaches its 29th volume with this joyful recording of La fida ninfa (The faithful nymph) boasting a starry, strong-in-depth cast under what increasingly appears to be the infallible direction of Jean-Christophe Spinosi … . Vocal performances are above and beyond the call of duty, with especially agile and vivid contributions from sopranos Sandrine Piau (Licori) and Verónica Cangemi (Morasto), countertenor Philippe Jaroussky (Osmino), and tenor Topi Lehtippu (Narete) altogether outstanding. The playing, from Spinosi’s own period-instrument Ensemble Matheus is fresh and vital, fizzing with energy and bursting with exuberant color, their begetter conducting with incisive winning conviction. This is not an opera that will easily find its way into the repertoire, but as an example of Vivaldi at his most irresistibly vivacious, it is more than worth investigating.”
Antonio Vivaldi: Violin Concertos Vol. 3, “Il ballo”
RV 352, 307, 268, 333, 210, 312, and 350
Duilio Galfetti (violin)
I Barocchisti / Diego Fasolis
OP 30474
Available March 31 from naïve

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In ...
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more