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Vivaldi: Tito Manlio (Vivaldi Edition)

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Audio CD, January 17, 2006
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Editorial Reviews

Product Description

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Most of Vivaldi's operas were composed for Venice, but between 1718 and 1720, he was in the employ the Austrian governor of Mantua, and he composed Tito Manlio for the governor's wedding celebration. The wedding never took place, but the opera was performed in 1719. The Mantuan court was very wealthy, and this is clear from the lavish scoring of Manlio: in addition to the usual strings, Vivaldi uses horns, trumpets, oboes, bassoon, two different registers of flutes, timpani and viola d'amore. The plot is concerned with Tito, the leader of the Romans, and his battles with the Latins, led by Gemino, whose sister, Servilia, was engaged to Manlio, Tito's son. Gemino was engaged to Tito's daughter, Vitellia. Manlio goes on a reconnaissance mission to the Latins and kills Gemino despite his father's instructions not to do so; Tito therefore sentences Manlio to death. Interwoven loves and angers make for emotion-laden arias, many with superb obbligato instruments. Bass Nicola Ulivieri is a powerful Tito, and soprano Karina Gauvin sings with great heart as his son, Manlio, while mezzo Maijana Mijanovic's Vitellia offers a full-range of feelings and superb singing, both plaintive and vengeful. The rest of the cast is fine, and Ottavio Dantone leads a crisp, dramatic performance. There are acres of good music here. Highly recommended, and a feast for Vivaldi fans. --Robert Levine

Disc: 1
1. Allegro
2. Andante
3. Presto
4. Recitativo
5. Recitativo Accompagnato: A Voi Del Basso Averno
6. Recitativo
See all 34 tracks on this disc
Disc: 2
1. Recitativo
2. Aria: Non Ti Lusinghi La Crudeltade
3. Recitativo
4. Aria: D'Improvviso Riede Il Riso
5. Recitativo
6. Recitativo
See all 30 tracks on this disc
Disc: 3
1. Aria: Sonno, Se Pur Sei Sonno
2. Recitativo
3. Aria: Tu Dormi In Tante Pene
4. Recitativo
5. Aria: Parto Contenta
6. Recitativo
See all 30 tracks on this disc

Product Details

  • Performer: Nicola Ulivieri, Karina Gauvin, Ann Hellenberg, Marijana Mijanovic, Debora Beronesi
  • Orchestra: Accademia Bizantina
  • Conductor: Ottavio Dantone
  • Composer: Antonio Vivaldi
  • Audio CD (January 17, 2006)
  • SPARS Code: DDD
  • Number of Discs: 3
  • Label: Naive
  • ASIN: B000BU99XS
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #274,506 in Music (See Top 100 in Music)

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Most Helpful Customer Reviews

21 of 22 people found the following review helpful By Dennis Figueroa on August 14, 2006
Format: Audio CD Verified Purchase
If such title like "Tito Manlio" is not a hint, Vivaldi made it clear to exalt the male voice here. This opera is beautifully simple, and abundant in arias for basso. For a genius like Vivaldi who prided himself in composing faster than the copyists could handle, Tito Manlio, or the cinque giorni opera, asserts this prowess as he started and finished it in 5 days. The vocal fireworks are the signature Vivaldian pyrotechnics in arias like Liquore Ingrato, Orribile Lo Scempio, L'intendo E Non L'intendo, Se Il Cor Guerriero, Brutta Cosa, the resounding No Che Non Vedra Roma, and Mi Fa Da Piangere. The aria Orribile Lo Scempio must have been a Vivaldi's favorite as he recycled it as Terribile Lo Sento, and Gl'otraggi Della Sorte in two other operas. The powerful No Che Non Vedra Roma has a vocal pull impossible to resist, and the perfect climax to Nicola Ulivieri's performance in the role of Tito. Debora Beronesi is brilliant in the role of Lucio, and does a phenomenal execution of Fra Le Procelle, the most technically challenging aria of Tito Manlio. If one would think that only endowed voices like Bartoli's could handle this aria, Debora Beronesi proves one wrong. She does baroque at its best! Her casting as Lucio is flawless, and leaves me longing for more after Combatta Un Gentil Cor, and Non Ti Lusinghi La Crudeltade. Karina Gauvin as Manlio delivers the most beautiful and hypnotizing Sonno, Se Pur Sei Sonno as one of the last arias to seal this outstanding operatic experience.
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29 of 33 people found the following review helpful By M. Montenegro on February 3, 2006
Format: Audio CD
This recording is a part of the Complete Vivaldi Edition the Instituto per I beni musicali in Piemonte began a couple of years ago with the Naive label. Once again, there is the opportunity to discover a work out of the traditional repertoire that shows the great operatic talent of Lucio Antonio Vivaldi. The recording is great: each recitativo has been reconstructed very carefully by Ottavio Dantone showing that, in baroque Opera, the recitativo is much more than a mere link to the arias, but a powerfull way to communicate the action and the dramma to the audience. And the arias: pure beauty! The singers are excelent: all of them, giving a great ornamentation in the da cappo section... This is a reccording to treasure: Enjoy it!
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8 of 9 people found the following review helpful By Jon Chambers on February 23, 2010
Format: Audio CD
Today, opera is the sole part of Vivaldi's output that suffers from neglect. This is somewhat surprising, given the determination to rescue every facet of his music from obscurity. Prejudice against his operatic work has a long history, however. Tartini claimed that Vivaldi, despite wanting the same success as a vocal composer that he enjoyed as an instrumental one, 'always got himself hissed' for his efforts in this sphere. But we should be on our guard. After all, Vivaldi's sacred vocal works represent some of his most inspired compositions. Might not the same be true of at least some of the operas?

In the case of Tito Manlio this would certainly seem to be the case. It is an opera in which the writing is sustained at a consistently high level with a constant succession of numbers showing invention, contrast and interest. The work it resembles most closely, perhaps, is not another opera but the highly distinguished oratorio Juditha Triumphans, written only three years earlier. It shares the same lavish range of instrumentation, thematic material (the closing numbers of both works have more than a little in common) and consistency of quality. Tito Manlio was written for the Mantuan carnival of 1719 - during the early period of Vivaldi's opera writing, in other words. These early operas have been described as 'orchestra-dominated' by Michael Talbot. Melodies are profuse and attractive, and solists and ensemble are at least as prominent as vocalists. Those who know the orchestral works well will recognise elements from them, sometimes whole movements (eg the Concerto funebre). Such self-borrowing is hardly surprising - Vivaldi reputedly had only five days to write the complete score!
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1 of 1 people found the following review helpful By Ralph Schatz on January 17, 2015
Format: Audio CD Verified Purchase
This is a real sleeper. Never heard of it until recently, now we play it frequently. (Thanks to WFMT for bringing it to our attention.) Vivaldi's glorious music, beautiful singing, outstanding sound quality. Nothing not to like.
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