Vivaldi Edition Vol. 72
Vivaldi Edition Vol. 72: Music sacra per coro e orchestra
Carlotta Colombo (soprano), Margherita Maria Sala (mezzo-soprano), Valerio Contaldo (tenor), Alessandro Ravasio (bass), Coro e Orchestra Ghislieri, Giulio Prandi
Vivaldi: Dixit Dominus in D major, RV 807; Confitebor tibi, Domine in C major, RV 596; 18 Sanctorum meritis in C major RV 620; Vos invito, barbarae faces in F major, RV 811; Magnificat in G minor, RV 611
Naive
It’s hard to believe that the Vivaldi project is three-quarters through, it has seemed so everlasting, so generous and so sumptuous for so long. Yet with the final stretches in sight there is no easing off from the sense of joyful discovery that characterises this project, volume 72 is an album of choral music that packs a few surprises of its own.
The Dixit Dominus RV807 is hardly an unknown quantity but this recording is shot through with energetic singing which reveals colourful hues. At times the choir allow their enthusiasm to run away with them, but I appreciate their sheer vocal presence and that it is clear from the start that they’re not going to let any opportunity for word painting pass. Having said that I’m also a fan of the more subtle recording by La Nuova Musica (05/13) which I consider a masterclass in stylish phrasing, but then I also long for the more resonant acoustic used by Ensemble Pian and Forte, and Musica Fiata. The bar is already set high, and whilst Giulio Prandi's new recording doesn’t eclipse the others it does combine qualities I admire in those others into a powerful alternative reading. Listen especially for the two tenors buzzing through the duet Tecum principium with voracious energy. The soloists are superb throughout, especially Valerio Contaldo in the fiendish passage work of Dominus a dextris tuis.
We meet more of these soloists with every piece: Carlotta Colombo brings a perky clarity to an otherwise flustered little aria Sanctorum meritis in do maggiore, RV 620. And Margherita Maria Sala is in full control of both Vivaldi’s typically tub-thumping opening aria of Vos invito, barbarae faces RV811 and lush second aria Sunt delitiæ, non dolores in which I admire her rich tone.
Carlotta Colombo (soprano), Margherita Maria Sala (mezzo-soprano), Valerio Contaldo (tenor), Alessandro Ravasio (bass), Coro e Orchestra Ghislieri, Giulio Prandi
Vivaldi: Dixit Dominus in D major, RV 807; Confitebor tibi, Domine in C major, RV 596; 18 Sanctorum meritis in C major RV 620; Vos invito, barbarae faces in F major, RV 811; Magnificat in G minor, RV 611
Naive
It’s hard to believe that the Vivaldi project is three-quarters through, it has seemed so everlasting, so generous and so sumptuous for so long. Yet with the final stretches in sight there is no easing off from the sense of joyful discovery that characterises this project, volume 72 is an album of choral music that packs a few surprises of its own.
The Dixit Dominus RV807 is hardly an unknown quantity but this recording is shot through with energetic singing which reveals colourful hues. At times the choir allow their enthusiasm to run away with them, but I appreciate their sheer vocal presence and that it is clear from the start that they’re not going to let any opportunity for word painting pass. Having said that I’m also a fan of the more subtle recording by La Nuova Musica (05/13) which I consider a masterclass in stylish phrasing, but then I also long for the more resonant acoustic used by Ensemble Pian and Forte, and Musica Fiata. The bar is already set high, and whilst Giulio Prandi's new recording doesn’t eclipse the others it does combine qualities I admire in those others into a powerful alternative reading. Listen especially for the two tenors buzzing through the duet Tecum principium with voracious energy. The soloists are superb throughout, especially Valerio Contaldo in the fiendish passage work of Dominus a dextris tuis.
We meet more of these soloists with every piece: Carlotta Colombo brings a perky clarity to an otherwise flustered little aria Sanctorum meritis in do maggiore, RV 620. And Margherita Maria Sala is in full control of both Vivaldi’s typically tub-thumping opening aria of Vos invito, barbarae faces RV811 and lush second aria Sunt delitiæ, non dolores in which I admire her rich tone.
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