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
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.
Among his many famous and beloved concertos, Vivaldi wrote no fewer than twenty-seven for the cello an instrument that at the time was generally consigned to playing basso continuo. With the genuine virtuosi he had available to him at the Ospedale della Pietà, the Prete Rosso played a key role in the emancipation of the cello. On this new CD of Vivaldi concertos, acclaimed cellist Jean-Guihen Queyras is supported by the musicians of the Akademie für Alte Musik Berlin in a fascinating program that is further enhanced by a selection of highly expressive Sinfonias by Antonio Caldara.
Naive’s Vivaldi Edition is proud to present the 15th opera, and the 50th release, in the acclaimed series. Conducted by one of the masters of baroque opera, Alan Curtis, and gathering an impressive, vocal cast from the top echelons of Baroque singing 'Catone in Utica' is one of the Venetian master’s great, late operas. Composed four years before his death and premiered at Verona in the spring of 1737, 'Catone' inaugurated Vivaldi's third and last opera season. The Red Priest's farewell to the Teatro dell’Accademia Filarmonica was to resemble the crowning piece of a fire-works display.