Philippe Jaroussky (born 13 February 1978 in Maisons-Laffitte, France) is a French sopranist countertenor. He began his musical career with the violin, winning an award at the Versailles conservatory and then took up the piano before turning to singing. He is noted for a virtuosic coloratura technique and for compelling and enlivened interpretations of baroque cantatas and operas…
This recording is noteworthy since back in 1978 it had become a precursor to the great Vivaldi Opera revival, including the phenomenal production of the same "Orlando Furioso" by San Francisco opera again with Marilyn Horn roughly 10 years later.
Due to this recording under the baton of Claudio Scimone being a pioneer, stepping on the rediscovered terra incognita of Vivaldi opera, the musical director had to resolve many problems, such as dramatic "reduction" of the text, which originally would accommodate for 5-6 hours of on-stage action; available voices and ornamentation of da capo arias, improvisation of cadenzas, and realization of appoggiaturas.
Diving into Vivaldi's Orlando furioso with Jean-Christophe Spinosi, Matheus Ensemble, and a shockingly good cast is enough to make even the most jaded listener smile. It is fresh, unrelentingly impressive, and entertaining to a fault. The opera is over-plotted: the first paragraph of the synopsis is enough to confuse anyone not taking notes. And listening to the entire thing would amount to more flowery, athletic vocalism than most can stand in one sitting. But those with the remotest interest in Vivaldi opera, or opera at all, will be hard pressed not to marvel at the quality of what's recorded here. Spinosi is a brilliant Vivaldian who pulls sweet-toned lyricism and down-and-dirty sawing from his Matheus Ensemble, making the most of the composer's rich orchestration. And the cast pulls one rabbit after another out of its collective hat, tackling Vivaldi's consummately difficult arias with élan.
This is something of an informal recording made at the oldest standing enclosed theatre in the world (Teatro Olimpico). It sounds like a chamber opera (if such a term exists). Pleasant singing, quaint, not overplayed. One of four modern versions of a relatively popular Vivaldi opera (his first), released on various labels (Bongiovanni, Chandos, Brilliant, Naive). This Brilliant version actually stands out for its instrumental tempo, which is fair compared to the (somewhat hyperactive) Naive and Chandos versions; I'd say it's reminiscent of a well played Four Seasons, moving along steadily. The acoustics are also more balanced here, all of the instruments shine through with the vocals…Amazon.com