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Vivaldi Concert: Vocal & Instrumental Works

Antonio Vivaldi , Patrice Michaels , Chicago Baroque Ensemble Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)

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Product Details

  • Orchestra: Chicago Baroque Ensemble
  • Conductor: Patrice Michaels
  • Composer: Antonio Vivaldi
  • Audio CD (August 24, 1996)
  • Number of Discs: 1
  • Label: Cedille
  • ASIN: B0000018ZF
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #1,338,655 in Music (See Top 100 in Music)

1. Nulla in mundo pax sincera, solo motet for voice, strings & continuo in E major, RV 630: Aria: Nulla in mundo pax sincera
2. Nulla in mundo pax sincera, solo motet for voice, strings & continuo in E major, RV 630: Recit: Blando colore
3. Nulla in mundo pax sincera, solo motet for voice, strings & continuo in E major, RV 630: Aria: Spirat anguis
4. Nulla in mundo pax sincera, solo motet for voice, strings & continuo in E major, RV 630: Allelulia
5. Concerto for strings & continuo in D minor, RV 128: Allegro non molto
6. Concerto for strings & continuo in D minor, RV 128: Largo
7. Concerto for strings & continuo in D minor, RV 128: Allegro
8. All'ombra di sospetto, cantata for voice, flute & continuo, RV 678: Recit: All'ombra di sospetto
9. All'ombra di sospetto, cantata for voice, flute & continuo, RV 678: Aria: Avezzo non è il core
10. All'ombra di sospetto, cantata for voice, flute & continuo, RV 678: Recit: O quanti amanti, ò quanti
11. All'ombra di sospetto, cantata for voice, flute & continuo, RV 678: Aria: Mentiti contenti
12. Sonata, for cello & continuo No. 4 in B flat major (Six Sonatas No. 4), Op. 14/4, RV 45: Largo
13. Sonata, for cello & continuo No. 4 in B flat major (Six Sonatas No. 4), Op. 14/4, RV 45: Allegro
14. Sonata, for cello & continuo No. 4 in B flat major (Six Sonatas No. 4), Op. 14/4, RV 45: Largo
15. Sonata, for cello & continuo No. 4 in B flat major (Six Sonatas No. 4), Op. 14/4, RV 45: Allegro
16. Lungi dal vago volto, cantata for voice, violin & continuo, RV 680: Recit: Lungi dal vago volto
17. Lungi dal vago volto, cantata for voice, violin & continuo, RV 680: Aria: Augelletti, voi col canto
18. Lungi dal vago volto, cantata for voice, violin & continuo, RV 680: Recit: Allegrezza mio core
19. Lungi dal vago volto, cantata for voice, violin & continuo, RV 680: Aria: Mi stringerai si, si
20. Flute Concerto, for flute, strings & continuo in G major, RV 436: Allegro
See all 26 tracks on this disc

Editorial Reviews

Review

The Chicago Baroque Ensemble . . . performs on period instruments at a stellar level of artistry and scholarship. -- Cleveland Plain Dealer

Product Description

When people think of Vivaldi, they think of concertos, which represent only about half of his nearly 800 compositions. Vocal music? Mostly forgotten. Vivaldi recordings, though voluminous, comprise many predictable collections of similar works -- flute concertos, violin concerto, and so forth. A Vivaldi Concert, performed by the Chicago Baroque Ensemble with guest artist Patrice Michaels, soprano, opens a unique vista on the Venetian composer. It's an invigoratingly diverse program of Vivaldi's vocal and instrumental works, none of them over-recorded. "We looked at all approaches to programming Vivaldi on disc and took the one less traveled by," said Cedille producer James Ginsburg, paraphrasing a Robert Frost poem, "And that makes all the difference." The program of motets, concertos, cantatas and sonata unfolds through a symmetrical sequence of varied musical textures, moods, and instrumentation for and entertaining (and generous) 78-plus minutes of music. This variety is a truer reflection of what a concert in Vivaldi's day would have sounded like -- and how the Chicago Baroque Ensemble programs its concerts -- compared to today's typically homogeneous concert programs, according to the ensemble's artistic director John Mark Rozendaal, who also wrote the CD booklet notes. Variety was the goal even among the selection of vocal pieces; the sacred motets exhibit a relatively simple vocal style, while the cantatas on the theme of romantic love allow for a more freely expressive vocalism. The first motet is characterized by a pure, angelic soprano sound, while the second is darker, moodier. The first cantata, "All'ombra di sospetto," RV178, features flute while the second cantata, "Lungi dal vago volto," RV680, features violin. For further variety, keyboardist David Schrader plays chamber organ rather than harpsichord in the motets, which were intended for church performances. Rozendaal's notes set the stage by depicting the artistic vitality of 17th-century Venice in modern terms: the city was "the Hollywood of Europe, the center of a powerful entertainment industry and a playground for the continent's beautiful people." Music-making was everywhere -- "in the churches, the opera houses, the palaces of the ambassadors, in the streets and canals." And one of the key power-lunchers was Vivaldi, vain and temperamental, a "one-man music factory."

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3 of 4 people found the following review helpful
5.0 out of 5 stars Buy it for the voice! May 6, 2001
I first heard Patrice Michaels sing the soprano solos in a (typically) mass production of Handel's Messiah at Orchestra Hall in Chicago. I became a lifelong fan right then. As a vocal student training to sing opera, I consider myself knowledgeable in classical music. Michaels is not Callas. She would never pretend to be. There are many types of sopranos. Michaels' voice is lighter yet just as vibrant. This collection really highlights Vivaldi as a writer of vocal music, as opposed to the more famous and common Spring, Summer, etc. I'm not sure I've been turned on to the vocal musings of this composer, but I forgot my misgivings with the first note that sounds from Patrice Michael's body. If this review seems too glowing, be assured that there are some voices I have no patience with(the oh-so-popular Sarah Brightman being near the top of the list). Patrice Michaels is very close (I don't feel qualified to absolutely judge), but she is as close as I can say, to a beautiful voice for the ages.
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