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Vivaldi: Ercole sul Termodonte

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This new release is as good as it gets. It is the first recording of Vivaldi's opera `Ercole sul Termodonte', first staged in Rome in 1723 and reconstructed by maestro Fabio Biondi, the conductor on this CD. The details of the reconstruction are given by Biondi in the `Analytical note', pp. 22-27 in the booklet - the text every listener is advised to read. The reconstruction is based on a complete libretto and on a number of arias and a few duets and interludes from `Ercole' preserved in different variants. Biondi wrote all the recitatives for this recording and decided on the orchestration of the survived solos, duets and sinfonias. The survived arias are distributed unevenly: for instance, Ippolita has six arias, while all arias written for Orizia have been lost. In order to keep the balance Biondi has made patches for some of the lost solos and adjusted other Vivaldi's operatic arias to the text of Ercole's libretto. This step is probably justified since Vivaldi himself used to practice the same thing but one cannot be sure whether the gaps are filled with the same music as sounded in Rome in 1723. Biondi also omitted several arias - one Ippolita's aria, one Teseo's aria, one Alceste's aria and one Telamone's aria - where their preservation would slow down the action and lead to an uneven distribution of the material between characters. The solo arias included in Biondi's production are located this way:

Ercole (Villazon): CD 1: track 13; CD 2: tracks 13, 25, 39Reconstructed;

Orizia (Ciofi): CD 2: tracks 9Rec., 29Rec.; Lost arias: `A un cor generoso', `Torno al campo';

Ippolita (DiDonato): CD 1: tracks 22, 29, 33; CD 2: tracks 4, 31; (omitted - `Un certo non so che');

Teseo (Basso): CD 1: track 18; CD2: tracks 6, 21, 33; (omitted - `Qual dispersa tortorella');

Antiope (Genaux): CD 1: Tracks 4, 8, 31; CD 2: Tracks 37;

Martesia (Damrau): CD 1: Tracks 10, 24; CD 2, Tracks 17, 27;

Alceste (Jaroussky): CD1: Tracks 15, 26; CD 2: Tracks 15, (Omitted: -`Sol perche t'amo');

Telamone (Lehtipuu): CD 2: Track 11; Lost: `Se profasti il mia fede'; (Omitted -`Lascia di sospirar);

Since this is the first recording of `Ercole', I lack a comparison and can only judge the soloists on the basis of their vocal achievements here.

Rolando Villazon (Ercole) is very good in the title role. I am not sure that his intonation and timbre conform to all HIP canons but this is of probably of minor importance: since Hercules came to the Amazons' kingdom from a different world, Villazon as a classical tenor may be a welcome guest of the baroque opera. All Ercole's solos are bravura pieces in major tonalities. The best music however is in the last aria, `Coronatemi le chiome' (CD 2, track 39), reconstructed by Biondi from the fragments of `Tito Manlio': it is designed to demonstrate the tenor's range and the heroic strength of his character.

Patricia Ciofi (Orizia) gets only two solos which is a pity - her well-rounded high notes and a warm timbre are delightful. The best solo piece of her character is `Cadero, ma sopra il vinto' (CD 2, track 29), reconstructed by Biondi from the music of `Artabano'. This item is on the level of Ciofi's & Biondi's marvelous CD of Vivaldi's motets Vivaldi: Motets.

Joyce DiDonato (Ippolita) is singing the main female role. DiDonato's mellow mezzo and effortless vocalization suit perfectly to her character. The best Ippolita's aria is undoubtfully the last one - `Amato ben' (CD 2, track 31). Biondi in his liner note calls this aria one of Vivaldi's biggest operatic hits, and I agree with him.

Romina Basso (Teseo) is engaged in the major trouser role. Her voice is a low mezzo-soprano with secure but rather muffled low notes. She is very good throughout her role but I was not touched by her final aria `Ti sento, si ti sento', (CD 2, track 33) which is a response to Ippolita's `Amato ben'.

Vivica Genaux (Antiope) as the Amazons' queen has to sing lots of nervous and aggressive music in the vein of her `Pyrotechnics's CD with Biondi Pyrotechnics: Vivaldi Opera Arias. She copes well with this task but I wish that her high trill were executed as clearly as by Ciofi. Her final Prestissimo aria `Scendero, volero, gridero' (CD 2, 39) is an amazing achievement though. In the rare moments, where Antiope does not have to posit herself as a virago and to sing to a inhuman tempo, Genaux shows beautiful vocals, as in the aria `Bel piacher ch'e la vendetta' (CD 1, track 31).

Diana Damrau (Martesia) is cast in a technically less demanding ingénue role. Her final aria `Se ben sente' (CD 2, track 17) is probably the gem of her part.

Philippe Jaroussky (Alceste) gets a part originally written for young Carestini - a famous singer to whom Jaroussky has dedicated one of his solo CDs Philippe Jaroussky - Carestini (The Story of a Castrato). However, this male soprano part is static. Jaroussky is on his usual high level but his rendering of Alceste's last aria `Io sembro appunto' (CD 2, track 15) which Biondi claims is a big hit left me cold. I even found Alceste's previous aria `Sento con qual diletto' (CD 1, track 15) more interesting. Both mentioned arias have been repeatedly used by Vivaldi in his operas.

Topi Lehtipuu (Telamone) is cast as second tenor. Originally, his part included 3 arias but one of them got lost and another one was omitted by Biondi. The remaining item `Tender lacci' (CD 2, track 11) is pleasant but it is eclipsed by other solos.

Biondi's firm hand is felt both in sinfonias and interludias and in the instrumental supports of the arias. He also performs violin and viola d'amour solos. His orchestra, Europa Galante, responds well to its conductor.

I do not see any serious shortcomings in this production. Possibly except for one: every listener will establish himself/herself whether he/she wants to repeat Vivaldi's `Ercole' in its entirety or to pick up favourite arias from it.

Antonio Vivaldi's opera ERCOLE SU'L TERMODONTE (Hercules in Thermodon) has received one of the finest performances on record. The three act opera with libretto by Antonio Salvi was first performed in 1723 in Rome where due to a special papal edict preventing women from appearing onstage in Rome, it premiered with castrati singing all the female roles. Vivaldi was both conductor and solo violinist. In this recreation of the work, rarely heard or seen (except in the 2006 very controversial Spoleto Festival performance captured on DVD with Zachary Stains as Hercules au natural), Fabio Bondi has reconstructed the work into a critical edition and also conducts the Europa Galante and performs the solo violin parts.

According to one synopsis, 'the story is based on the ninth of twelve legendary Labors of Hercules. To atone for killing his children in wrath, Hercules must perform twelve labors, the ninth of which is to travel to Thermodon and capture the sword of the Amazon Queen Antiope. (In other versions of the story, the quest was for her magical girdle.) The Amazons were a tribe of female warriors who put all their male children to death. Hercules, accompanied by the heroes Theseus, Telamon and Alceste, attacks the Amazons and captures Martesia, daughter of the queen. The Amazons then capture Theseus and, as soon as Queen Antiope swears to sacrifice him, Martesia falls in love with him. In the end, the goddess Diana decrees the marriage of Hippolyte with Theseus, prince of Athens, and of Martesia with Telamon, king of Ithaca.'

What makes this recording so brilliant (in addition to Fabio Bondi's considerable work) is the stellar cast of singers, a cast that would be impossible to match elsewhere. Some of the finest Baroque singers of our time here capture the beauty of this piece. The members of this production are as follows, here shown with the original voices assigned by Vivaldi to the roles:

Hercules (Ercole) tenor - Rolando Villazón (in very fine voice after his vocal cord surgery)

Antiope, Queen of the Amazons mezzo-soprano castrato (en travesti) here Vivica Genaux

Martesia, Antiope's daughter, soprano castrato (en travesti) here Diana Damrau

Hippolyte, Antiope's sister soprano castrato (en travesti) here Joyce DiDonato

Orizia, Antiope's second sister, soprano castrato (en travesti) here Patrizia Ciofi

Theseus, prince of Athens, contralto castrato here Romina Basso

Alceste, king of Sparta, soprano castrato here Philippe Jaroussky

Telamone, king of Ithaca, contralto castrato here Topi Lehtipuu

It is to Biondi's credit that he was able to assemble such a stellar cast. There is not a weak voice among them, and selecting brilliant excerpts for comment would have to include arias by each of these talented artists. Villazón is surprisingly fine as Hercules, and Joyce DiDonato is a standout. Phillippe Jaroussky is the only countertenor in the ensemble and that works very well for the overall cast. Topi Lehtipuu is superb and that is mentioned only because he is less well-known in roles such as this as the stellar members Ciofi, Damrau, Genaux and Basso. In all this is a very dramatic, very surprisingly new sound for Vivaldi, proving that he not only basked in his glories but moved into new arenas of composition in this work. The entire production is without flaw. Highly Recommended. Grady Harp, February 11

Recently listeners are treated with a good number of 'all-star' recordings.

I approach this 'Ercole', revived by Fabio Biondi, with some trepidation.

Luckily, my worries prove totally unfounded.

This is a 'all-star' recording that lives up to the very fames of all its performers.

At the hem of the performance is of course the starry Biondi himself.

He casts his singers in appropriate roles, and each performer lives up to his or her just fame.

My initial worry of Villazon singing Vivaldi vanishes upon listening to his second aria.

The other tenor sings a relatively minor role, and has a distinctively different vocal colour

than Villazon, thanks to Biondi's clever casting.

The ladies, however, are the real gems of this recording.

The Amazon queen is Genaux, who gives a characterful portrayal of a queen, a mother, and a

warrior all in one. Genaux has a powerful low register, a wonderful coloratura and a very expressive

voice. The varied demands for power, tenderness or feminity are all taken with aplomb. Rightfully,

this major female role's crown is truly worthy.

In the second female roles, Didonato and Damrau both give their characters' due.

Didonato's wonderful voice proves over and over again a real treat to listeners' ears. Probably the

most beautiful voice to emerge in the 21st century.

on the other hand, as the Amazon princess, the coyness and youthfulness depicted by Damrau are both

vivid and outstanding. Again, the credit goes to Biondi as much as to the singer herself over this

clever choice.

On the supporting level, Ciofi and Jaroussky display their usual strength in this kind of repertoire.

The only trouser role of Basso proves equally outstanding as her 'partner' Didonato.

In short, there is absolutely no weak link in this performance.

The orchestra plays heavenly well, and the dual CDs slide through the player as if they finish off

in less than an hour.

Highly enjoyable.

There are extensive reviews here, which I second and concur. The playing of the orchestra under Biondi is fantastic, with its usual very sharp and brilliant playing. The soloists are excellent throughout. Initially I had hesitations towards Villazon as a baroque singer but I increasingly liked it and now one of his arias on here is on of my all time favorites. In fat, ever since I bought that CD this is basically what I am listening to (a few weeks already). And it made me curious for more. Highly recommended for all who love Vivaldi anyway and also for those who want to go beyond the four seasons...

Having read all previous reviews, I am obliged to tell inexpert listeners like me that this is what you thought Vivaldi might have done once he got The Four Seasons out of the way. Forget the mythology, the libretto, even the nit-picking about this or that singer: this is the Vivaldi we neophytes have been looking for! I kept yelling "Yes!" the first couple of times I heard it.

I've bought only one other Vivaldi opera so far: Farnace. Not as exciting listening as L'Ercole, not music I cheered on first hearing. But it's Vivaldi showing off and no one does it better.

I also think music reviewers should use more space crediting the composer. Singers, orchestras, conductors come and go, some good, some not so good. But will there ever be another Bach, Beethoven, Schubert? Or another Antonio Vivaldi? Not in this unverse.

http://www.emiclassics.com/releaseabout.php?rid=48603

provides excerpts from a video of this sensational performance. In its under 4 minute time-span, you will know what you are in for with this 2-CD set, which I think is an essential recording of an essential operatic masterpiece -- Vivaldi in his Italianate style matching the finest of Gluck's Germanic style, both composers being at the pinnacle of their era.

The music is perfect and absolutely beautiful, but let me say straight away something I will not repeat: the librettist must have been on ink or pen restrictions because systematically he makes the arias repeat over and over. Musically it is very good and even absolutely fascinating most of the time because of the variations, but extra words would have been a treat and we do not get the treat.

Apart from that this opera has a beautiful subject and the treatment is superb. Hercules has to go and get the weapons of the Queen of the Amazons, Antiope and at the same time curb them down. In fact the myth is a clear change in sex roles in ancient Greece. Women are set in a secondary place and men take over, but that's not the whole story: they introduce some new political order: kings of a hereditary nature. We have to set these Amazons next to Medea to understand what they mean. The older order of things in Europe, before the arrival of the Indo-Europeans was in the hands of the descendants of Cro-Magnon and the Turkic people who arrived in Europe around 45,000 years ago. The Indo-Europeans are the invaders but they are no more than 20% of the population (DNA heritage is proving it today) which means they have to take over, hence to integrate themselves in the older society and to integrate the people of the older society in the new order. They have to recuperate the beliefs and religions and cultures of these people.

And that is the rub. These people are dedicated to one triple goddess that is as old as Homo Sapiens in Europe. It is Diana in this opera and myth. It is Hecate in Medea. The triple goddess is in Greek tradition Hecate, the queen of hell from which Antiope wants to realize her vengeance, Selene the goddess of the night and the moon, a moon that is quoted once in the opera, and finally Diana who is the goddess of hunting, young animals, life and pregnant women, the main goddess in this opera on the Amazons' side systematically referred to as the triple goddess.

Hercules is the major integrator in this Greek mythology. His various works are successive and repetitive defeats of older myths and the integration of them in the making of a demi-god, Hercules himself. On Medea's side it is Jason who has to recuperate the Golden Fleece and vanquish three mythical dangers and the armed forces of the King of Colchis, Medea's father.

Vivaldi changes one detail and turns one of the three sisters of the Queen into the daughter of the same Queen Antiope herself and he changes her name to Martesia. Then the whole situation is ready for a perfect war, victory and integration.

Theseus, Hercules' friend and king of Athens, is taken prisoner by Orithya, the co-ruler and sister of Antiope. On the other side Martesia is taken by the Greeks and later Orithyas herself.

On the Greek side we have two kings, Alceste, the King of Sparta, and Telamon the king of Ithaca, are in love with the prisoner Martesia who will prefer Alceste but in order to win one of the two men must do the most heroic deed. Alceste starts first and brings back Orithya prisoner. Telamon then frees Orithya, in Hercules' back of course, for her to go back to her sister and get Theseus free, who but no one knows is in love with Hippolyta the other sister of the Queen, so that on the Amazon side we have the love affair of Theseus and Hippolyta that is confronted to the decision of Antiope to choose a prisoner to avenge her daughter with a human sacrifice to Diana, and of course she chooses Theseus.

Without giving more details on the plot, let's say Theseus will be freed just before the axe falls on his neck, Martesia will arrive just in time to prevent her mother Antiope from killing herself and everyone will have the last word over Antiope the stubborn and Hercules and his mission. It is in fact Orithya who will hand out the weapons of her sister that Hercules must bring back to Mycenae.

And the opera ends up with two marriages dedicated to Juno, the goddess of matrimony, and Diana. The recuperation of the Amazons' goddess is a success and the Amazons will be able to go on living in their kingdom provided they stop being warriors botherring their neighbors and two of them will be integrated in the Greek descent with the two weddings.

Now this opera is superb because of many musical elements and I only want to quote a few. At first I was surprised by the choice of a female mezzo-soprano for Theseus, but I was convinced it was a giood choice when he was confronted to two other mezzo-sopranos, Antiope and Hippolyta, and to a soprano, Orithya in the scenes 10-12 of the second act. The result is absolutely from another world, for out of space.

Then Alceste being a countertenor, Philippe Jazoussky, the contrast with Hercules, a tenor, Telamon, another tenor and the non-contrast with Martesia, a soprano, except the sexual harmonics of the two voices, give a tremendous dynamism to these scenes that are super tragic in many ways, dramatic to the utmost and the voices embody these characteristics. And what's more Philippe Jaroussky does not stand out as he does too often because Vivaldi's composition integrates the voice differences in the music itself and not only as a symbol of heroism: the hero Alceste being an alto and the hero Theseus being a mezzo-soprano. That was a tradition in those days but Vivaldi made it a structural necessity. He built his musical plot on the various voices that become natural in the sound architecture of the opera.

Dr Jacques COULARDEAU

Yes, yes I loved Vivaldi. Who doesn't, at least as his "Four Seasons" goes. But his operatic efforts were unknown to me. The orchestration and instrumentation in "Ercole" is thrilling, prompting me several times to rise up and fling my arms about as I "conducted" the score. The singing and disc sound are nothing less than stellar. But what won me over completely was the story. A group of Amazon-like women, powerful, beautiful, and throughly conditioned to fear and loathe men are ripe for the plucking when a group of the latter are deposited on their sanctuary's beach following a shipwreck. Fun, fun!