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Vivaldi: Orlando furioso (Vivaldi Edition)

4.4 out of 5 stars 10 customer reviews

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Audio CD, January 18, 2005
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Track Listings

Disc: 1

  1. Sinfonia (Concerto in D major per archi e cembalo, RV 116). Allegro
  2. Sinfonia (Concerto in D major per archi e cembalo, RV 116). Andante
  3. Sinfonia (Concerto in D major per archi e cembalo, RV 116). Allegro
  4. Act 1. Scene 1. Recitativo
  5. Act 1. Scene 1. Aria. Un raggio di speme
  6. Act 1. Scene 2. Recitativo
  7. Act 1. Scene 2. Aria. Alza in quegl'occhi
  8. Act 1. Scene 3. Recitativo
  9. Act 1. Scene 3. Aria. Costanza tu m'insegni, e vuoi ch'io speri
  10. Act 1. Scene 4. Recitativo
  11. Act 1. Scene 4. Aria. Asconderò il mio sdegno
  12. Act 1. Scene 5. Recitativo
  13. Act 1. Scene 5. Aria. Nel profondo
  14. Act 1. Scene 6. Recitativo
  15. Act 1. Scene 7. Recitativo
  16. Act 1. Scene 8. Recitativo
  17. Act 1. Scene 8. Aria. Tu sei degl'occhi miei
  18. Act 1. Scene 8. Recitativo
  19. Act 1. Scene 8. Aria. Troppo è fiero, il Nume Arciero
  20. Act 1. Scene 9. Recitativo
  21. Act 1. Scene 9. Aria. Rompo i ceppi
  22. Act 1. Scene 10. Recitativo
  23. Act 1. Scene 11. Recitativo
  24. Act 1. Scene 11. Aria. Sol da te, mio dolce amore
  25. Act 1. Scene 12. Recitativo
  26. Act 1. Scene 13. Recitativo
  27. Act 1. Scene 13. Aria. Amorose ai rai del sole

Disc: 2

  1. Act 2. Scene 1. Recitativo
  2. Act 2. Scene 1. Aria.
  3. Act 2. Scene 3. Aria.
  4. Act 2. Scene 2. Aria.
  5. Act 2. Scene 4. Recitativo
  6. Act 2. Scene 4. Aria.
  7. Act 2. Scene 2. Recitativo
  8. Act 2. Scene 11. Recitativo
  9. Act 2. Scene 11. Aria.
  10. Act 2. Scene 3. Recitativo
  11. Act 2. Scene 4. Recitativo
  12. Act 2. Scene 5. Recitativo
  13. Act 2. Scene 5. Aria.
  14. Act 2. Scene 6. Aria.
  15. Act 2. Scene 12. Recitativo
  16. Act 2. Scene 7. Recitativo
  17. Act 2. Scene 8. Recitativo
  18. Act 2. Scene 9. Recitativo
  19. Act 2. Scene 10. Recitativo
  20. Act 2. Scene 10. Aria.
  21. Act 2. Scene 10. Aria.
  22. Act 2. Scene 11. Coro.
  23. Act 2. Scene 12. Duetto.
  24. Act 2. Scene 11. Recitativo accompagnato
  25. Act 2. Scene 11. Coro.
  26. Act 2. Scene 11. Recitativo
  27. Act 2. Scene 11. Coro.
  28. Act 2. Scene 11. Recitativo
  29. Act 2. Scene 12. Duetto.
  30. Act 2. Scene 12. Recitativo

Disc: 3

  1. Act 3. Scene 5. Canzon e recitativo
  2. Act 3. Scene 4. Recitativo
  3. Act 3. Scene 6. Recitativo
  4. Act 3. Scene 7. Recitativo
  5. Act 3. Scene 6. Recitativo
  6. Act 3. Scene 5. Recitativo
  7. Act 3. Scene 3. Recitativo
  8. Act 3. Scene 1. Recitativo
  9. Act 3. Scene 11. Recitativo
  10. Act 3. Scene 9. Recitativo
  11. Act 3. Scena ultima. Aria.
  12. Act 3. Scene 3. Recitativo accompagnato
  13. Act 3. Scene 10. Recitativo
  14. Act 3. Scene 3. Recitativo
  15. Act 3. Scene 10. Recitativo accompagnato
  16. Act 3. Scena ultima. Recitativo accompagnato
  17. Act 3. Scene 8. Recitativo
  18. Act 3. Scene 3. Aria.
  19. Act 3. Scene 2. Recitativo
  20. Act 3. Scene 10. Recitativo
  21. Act 3. Scene 9. Aria.
  22. Act 3. Scene 5. Recitativo
  23. Act 3. Scene 12. Recitativo
  24. Act 3. Scene 5. Aria.
  25. Act 3. Scene 8. Aria.
  26. Act 3. Scene 10. Aria.
  27. Act 3. Scena ultima. Recitativo
  28. Act 3. Scena ultima. Recitativo


Product Details

  • Performer: Marie-Nicole Lemieux, Jennifer Larmore, Veronica Cangemi, Philippe Jaroussky, Lorenzo Regazzo, et al.
  • Orchestra: Ensemble Matheus
  • Conductor: Jean-Christophe Spinosi
  • Composer: Antonio Vivaldi
  • Audio CD (January 18, 2005)
  • SPARS Code: DDD
  • Number of Discs: 3
  • Label: Naive
  • ASIN: B00061ZKP8
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (10 customer reviews)
  • Amazon Best Sellers Rank: #178,597 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

By J Scott Morrison HALL OF FAMETOP 100 REVIEWERVINE VOICE on January 26, 2005
Format: Audio CD
This review cannot be definitive as I am far from being an expert on Baroque opera. But I have long loved the recording of this opera, 'Orlando Furioso,' made many years ago, but drastically cut, by Claudio Scimone with the Solisti Veneti and featuring the almost superhuman singing of Marilyn Horne as Orlando. Add to that the Angelica of Victoria de los Angeles, Lucia Valentini-Terrani as Alcina, and Sesto Bruscantini as Ruggiero and you have a nigh-unbeatable combination. But this set not only gives us an uncut version of Vivaldi's opera (with some additions suggested by musicologist Frédéric Delaméa, additions which fill in gaps in the original materials from which this performance was produced), it features, amazingly, voices that are fully the equal of those in the fabled Scimone recording. Some roles have been re-assigned: Ruggiero is sung by a counter-tenor here (as opposed to Bruscantini's baritone); Medoro is sung by a mezzo, rather than a tenor.

One quibble I have about the Horne performance is that she made the role of Orlando, with all its vocal gymnastics, almost a caricature (forgive me, Horne fans! I'm one, too, after all). In the present recording Canadian mezzo Marie-Nicole Lemieux not only sings as well as Horne, but limns the character with greater sensitivity. Her ornamentation is not quite as spectacular, but it's also not as, how shall I say?, show-offy. And the ornaments are more in keeping with practice of 1727 when the opera was premièred, I believe. Lemieux is fully capable of Horne's acrobatics, so it's not a matter of lack of technique, it's more a matter of (gasp!) taste. A larger question arises about the replacement of the role of Ruggiero sung by a baritone (Bruscantini) with a counter-tenor (the sweet-voiced Philippe Jarrousky).
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Format: Audio CD Verified Purchase
It is thrilling to see more of Vivaldi's operas being recorded. However, this recording of Orlando Furioso may not be for everyone. Jean-Christophe Spinosi's style of conducting is described in the liner notes as "physical;" and this is certainly true. He asks the Ensemble Matheus to `punch' Vivaldi's openings and to accent each phrase with sharp articulations. The singers soar through their runs at break-neck speed, which makes for exciting listening. But Spinosi pushes the tempo of every aria, so much so that many of them clock in at under three minutes. Even the adagio arias move along at a quick pace. For listeners accustomed to the heart-wrenching, gentle interpretations of Baroque opera offered by Rene Jacob and John Elliot Gardner, Spinosi's interpretation may seem blunt and over-done. Spinosi is a young conductor leading youthful singers, and all are clearly excited by Vivaldi's music. However, this recording lacks the mature guidance and interpretation of more experienced musicians, and thus may bother some veteran connoisseurs of Baroque opera.

The quality of the singers on this recording is astounding. Canadian Marie-Nicole Lemieux evokes memories of Marilyn Horne, although her phrasing and vibrato is often more pleasant than Ms. Horne's. Jennifer Larmore is a delight, and sings the part of the sorceress Alcina with great skill and passion. Veronica Cangemi, Ann Hallenberg and Blandine Staskiewicz all have fine voices, and are destined for exciting careers and great acclaim. Of particular interest are the male singers: Venetian bass-baritone Lorenzo Regazzo (who sounds like a combination of Samuel Ramey and Bryn Terfel!) and the young counter-tenor Philippe Jaroussky.
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Format: Audio CD
Composer Antonio Vivaldi may always stand in the shadow of his contemporary Handel when it comes to Baroque compositions, and the distinction between the two is further blurred by the fact that both composed operas based on the same epic poem, Ludovico Ariosto's "Orlando furioso". Vivaldi's 1727 opera came about eight years prior to Handel's "Alcina". Unsurprisingly, while several recordings of "Alcina" have been produced (including a particularly strong one of the 1999 William Christie-conducted Paris Opera production with Renee Fleming and Susan Graham released in 2000), this is the first full recording of Vivaldi's work, part of the Naive label's commitment to bring Vivaldi's largely unknown but beautifully composed operas to light.

Based on this stellar ensemble performance, I would argue that "Orlando furioso" is the stronger of the two works based on the recitatives, which are far more dramatically gripping, and the arias which not only showcase splendid voices but provide an intractable context for the intense drama of the story. The lush performance here captures Vivaldi's insinuating melodies which are full of voluptuous ornamentation. The shimmering orchestral passages are complemented by vibrant choruses that mirror the dramatic shifts in Grazio Braccioli's treatment of Ariosto's eventful poem. His libretto manages to keep the essence of the story but deepens the humanity in blending epic history with the supernatural. Similar to Handel's "Alcina", Vivaldi depicts a set of lively gallery of characters with individualistic personalities in a fanciful plot that moves at a breakneck pace.

At the center are two storylines that complement each other, the grand sweep of Orlando's madness and the tragedy of Alcina's downfall.
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