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Vivaldi: Atenaide (Vivaldi Edition)


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Audio CD, October 30, 2007
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$29.89 & FREE Shipping on orders over $35. Details Only 1 left in stock (more on the way). Ships from and sold by Amazon.com. Gift-wrap available.

Frequently Bought Together

Vivaldi: Atenaide (Vivaldi Edition) + Vivaldi: Griselda (Vivaldi Edition) + Vivaldi:  Orlando finto pazzo (Vivaldi Edition)
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Editorial Reviews


Disc: 1
1. Allegro
2. Andante
3. Allegro
4. Scena 1 Recitativo
5. Scena 1 Aria Ti Stringo In Quest'amplesso
6. Scena 2 Recitativo
See all 27 tracks on this disc
Disc: 2
1. Scena 14 Recitativo
2. Scena 14 Aria Quanto Posso A' Me Fo Schermo
3. Scena 1 Recitativo
4. Scena 2 Recitativo
5. Scena 2 Aria Nel Profondo Cieco Mondo
6. Scena 3 Recitativo
See all 26 tracks on this disc
Disc: 3
1. Scena 1 Recitativo Accompagnato
2. Scena 1 Aria Alme Perfide Insegnatemi
3. Scena 2 Recitativo
4. Scena 3 Recitativo
5. Scena 3 Aria Parto, Che So Qual Sia
6. Scena 4 Recitativo
See all 35 tracks on this disc

Product Details

  • Performer: Sandrine Piau, Vivica Genaux, Guillemette Laurens, Romina Basso, Nathalie Stutzmann, et al.
  • Orchestra: Modo Antiquo
  • Conductor: Federico Maria Sardelli
  • Composer: Antonio Vivaldi
  • Audio CD (October 30, 2007)
  • SPARS Code: DDD
  • Number of Discs: 3
  • Label: Naive
  • ASIN: B000SNUMCA
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #194,273 in Music (See Top 100 in Music)

Customer Reviews

4.2 out of 5 stars
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Most Helpful Customer Reviews

38 of 38 people found the following review helpful By G. Rodger on October 30, 2007
Format: Audio CD
Based on a libretto by Apostolo Zeno, and first performed in Florence in 1728, Vivaldi's Atenaide is a remarkably satisfying piece. Many of the arias were originally written for Orlando furioso, the opera completed immediately before this one, but they work wonderfully in this context. There are, however, no ensembles or even duets in this work. As usual the score is full of opportunities for low-voiced women, so loved by Vivaldi.

The singers in this production all acquit themselves ably. Sandrine Piau is Atenaide, and is the only soprano in this production. The mezzo Vivica Genaux is billed in the liner notes as a soprano, but sings in the high mezzo-soprano range as the Emperor Teodosio. Genaux's singing is as thrilling as ever and her phrasing and control are exquisite. The low mezzo-soprano Romina Basso is also perfect as the dastardly Varane, rival for Atenaide. There are one or two moments where she lacks the bottom range for this part, but her rendition of her first-act aria Tanto lieto ho il core in petto, an aria taken from Orlando furioso, is much better than Marie Nicole Lemieux's performance of it in the recording of that opera. The tenors Paul Agnew and Steffano Ferrari also aquit themselves nicely, Agnew as the slightly ineffectual Leontino, father of Atenaide, and Ferrari as the emperor's attendant Probo.

The two stars of this recording are, for me, the French singers Nathalie Stutzmann and Guillemette Laurens. Laurens is the emperor's sister Pulcheria, a manipulative woman determined to scuttle her brother's pursuit of Atenaide. Vivaldi provided this character with arias that signal her unsettled and manipulative nature perfectly, and Laurens performs them wonderfully, fully committing to the role.
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13 of 14 people found the following review helpful By Dennis Figueroa on December 22, 2008
Format: Audio CD
...And recycle arias he did. Though the music is extremely melodic, generally the material is not tutto fresco.

The booklet editorial notes concern themselves with the mystery surrounding the success or probable flop of Atenaide at the Teatro La Pergola in Florence back in December of 1728. Royal court complots notwithstanding and probably scheming against Vivalvi, audiences back then were no different if a little more critical than the opera going crowd today. They ultimately explain why this opera premiered to its best opening night and soon after went dormant for the next 280 years. Set in a time when operas were the entertainment equivalent to motion pictures, would the paying public return to see KONG KING when in the previous season had seen enough of KING KONG?

From Vivaldi's perspective, this opera was commissioned to him with less artistic autonomy than he was used to, and more strained situations than he would have liked. He did not care much for the poet Zeno imposed by his producers for Atenaide's libretto, and there seemed to have been an apparent rift between him and his empresarios over Ana Giro's role, his protegee and muse. Framing all this drama into the music, the result might not be surprising if Vivaldi gave Atenaide sloppy seconds borrowed from Orlando Furioso (1727) and Il Farnace(1727) to fulfill his contractual obligations and get it over with.

Putting the recycling issue to rest, the music is quite grand, the cast star-filled, and the orchestration creative. Sardelli's choice for fast and bright tempo is fascinating, and historically in tune with what baroque audiences and singers preferred and expected in the Italian settecento. After all, this was the time of the Masters, and the Castrati roamed and ruled the world. The standard was high.
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By sumoran on January 5, 2012
Format: Audio CD
Fortunately, it can also cost significantly less than $30. Qobuz.com has a cd-quality download (flac) with the booklet and the covers for 11.99 euros. They also have La Fida Ninfa for 4.99!!

New age of high quality downloads is finally here. Thanks to a Franch company!? Who would have thought.
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1 of 5 people found the following review helpful By B. A. Brown on February 19, 2009
Format: Audio CD
I've enjoyed this and all the recordings in this series of Vivaldi operas. Looking forward to the next one "La Fida Ninfa" being released soon.
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