Rinaldo Alessandrini, Concerto Italiano, Sara Mingardo - Vivaldi: Concerti e Cantate (2000)
Rinaldo Alessandrini, Concerto Italiano, Sara Mingardo - Vivaldi: Concerti e Cantate (2000)
EAC | FLAC | Image (Cue & Log) ~ 301 Mb | Total time: 59:29 | Scans included
Classical | Label: Naïve | # OP 30181 | Recorded: 1996
EAC | FLAC | Image (Cue & Log) ~ 301 Mb | Total time: 59:29 | Scans included
Classical | Label: Naïve | # OP 30181 | Recorded: 1996
The recordings of the Concerto Italiano under its leader Rinaldo Alessandrini, such as this 1997 release, electrified the authentic-performance movement in Italy. Alessandrini showed that performances of Vivaldi on authentic instruments could be edgy, brisk, even tough. The group's ensemble work was unmatched, but perhaps best of all was its command of the Baroque repertory; programming has consistently featured unusual works that, in performances, sound like they've always been part of the tradition. Included here are three examples of perhaps the most-neglected segment of Vivaldi's vast concerto output: his concertos for strings with no solo instrument. These works, as annotator Michael Talbot points out, tend to include mixtures of old-fashioned and up-to-the-minute (or even fashion-forward) styles. One does not associate the name of Vivaldi with the fugue, but the first movement of the Concerto for strings and continuo in E minor, RV 134, is a suitably academic example. Other movements in the string concertos have the flirtatious quality of the galant style that Vivaldi in many instances anticipated. The strangest moment of all on the disc comes in the very last track, in the Concerto for strings and continuo in G major, RV 151, with its unresolved dominant sevenths. (The concerto is subtitled "alla rustica" and contains various effects suggestive of rural traditions; it is a cousin to similar works by Telemann and, more distantly, to Mozart's Musical Joke.) The disc also contains one concerto each for violin and cello and two short cantatas (each has two recitatives and two arias) for alto, strings, and continuo, sung very elegantly by Sara Mingardo. Vivaldi calibrates his vocal writing exquisitely to a space between the intimate solo cantata and the no-holds-barred display of operatic singing, and Mingardo rivets the attention in the revenge aria (track 17) that concludes the cantata Cessate, omai cessate. Alessandrini's musicians cut loose more on other recordings, but the clipped, rather tense language they speak here is appropriate to the subtly unusual works involved and to the variety of roles they are called upon to play. The bottom line: this disc is strongly recommended for anybody interested in exploring Vivaldi beyond the famous Four Seasons.–James Manheim
Performer:
Sara Mingardo, alto
Concerto Italiano
Conductor - Rinaldo Alessandrini
Track List:
Concerto for strings & continuo in C major, RV 117
01. I. Allegro alla francese
02. II. Largo
03. III. Allegro
Amor, hai vinto (II), cantata for voice, strings & continuo, RV 683
04. Recitativo: Amor, hai vinto
05. Aria: Passo di pena in pena
06. Recitativo: In che strano e confuso
07. Aria: Se a me rivolge il ciglio
Cello Concerto, for cello, strings & continuo in A minor, RV 422
08. I. Allegro
09. II. Largo
10. III. Allegro
Sinfonia (Concerto), for strings & continuo in E minor, RV 134
11. I. [Allegro]
12. II. Andante
13. III. Allegro
Cessate, omai cessate (I), cantata for voice, strings & continuo, RV 684
14. Recitativo: Cessate omai cessate
15. Aria: Ah, ch'infelice sempre
16. Recitativo: A voi dunque ricorro
17. Aria: Nell'orrido albergo
Violin Concerto, for violin, strings & continuo in D minor ("La stravaganza"), Op. 4/8, RV 249
18. I. Allegro - Adagio - Presto - Adagio
19. II. Allegro
Concerto 'Alla rustica', for strings & continuo in G major, RV 151
20. I. Presto
21. II. Adagio
22. III. Allegro
Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 28. October 2018, 12:19
Rinaldo Alessandrini, Concerto Italiano / Vivaldi - Concerti e Cantate
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