Vivaldi: Sacred Music

Release Date: 10/30/2012
Label: Naive
Catalog Number: OP30541
Number of Discs: 6

Physical Format:

CD
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$24.99
Notes and Editorial Reviews
A Naïve boxed set that gathers the finest sacred works composed by Antonio Vivaldi and performed by some of the most recognized artists in this wonderful repertoire, including Sandrine Piau, Marie-Nicole Lemieux, Philippe Jaroussky, Sara Mingardo, and Rinaldo Alessandrini.

Reviews of some of the original recordings that make up this set:

Nisi Dominus, Stabat Mater

"The latest Vivaldi recording on Naïve...focuses on sacred works: the Stabat Mater (RV 621) and Nisi Dominus (RV 608), both performed with potent expression by the fine period group Ensemble Matheus, led by Jean-Christophe Spinosi.
Vivaldi, also a priest, wrote the Nisi Dominus for the Ospedale Della Pietà in Venice, where he taught orphaned girls the violin. The countertenor Philippe Jaroussky wields his sweet-toned, radiant voice to emotive effect, displaying both a rapid-fire coloratura technique and a poignant, lyrical expressiveness, particularly haunting in “Cum dederit.”
In the more austere Stabat Mater, Marie-Nicole Lemieux sings with a gripping sense of drama, her darkly rich, agile contralto illuminating the text with anguish and passion.
The Ensemble Matheus plays with vigorous flair and sharply etched dynamic contrasts. Its crisp period approach sounds alternately fiery and gently warm, with dramatic explosions of color in “Surgite postquam” and almost inaudible whisperings at the beginning of “Cum dederit.”
The disc also includes a Crucifixus from a Credo attributed to Vivaldi (RV 592), a moving duet reminiscent of Pergolesi’s Stabat Mater."

– Vivien Schweitzer, New York Times [3/16/2008]

Vespri Per L'assunzione Di Maria Vergine
This 2-disc set is a reconstruction of a "let's pretend" event, described in the booklet as "a service of Solemn Vespers for the Assumption of the Virgin such as Vivaldi might have performed..." Whether he did or not is of little import since the concept places the music in a proper liturgical context. More relevant is the quality of the music and the performances, typically Vivaldian in their energetic theatricality. The latter trait, we're told in an essay by Rinaldo Alessandrini, is an element of the "festive devotion" characteristic of the Italian Baroque. There's secular music here too--a movement from a Vivaldi Concerto serves as an overture, and conforming to the practice of the time, the Concerto in C major RV 581 for violin and strings is placed after the Magnificat.

The harmonized and embellished antiphons in this reconstruction are by Alessandrini in the style of Venetian period examples due to the fact that the Gregorian plainchants had fallen out of usage in the Venetian Baroque. Fortunately, he's eliminated the celebrant's liturgical readings and responses in the service, so all we get is the music.

And what music! The best-known works in the set are the Psalms and the great Magnificat, but also included are stunning motets such as Ascende laeta, which is beautifully sung by Roberta Invernizzi. Another fine soprano here is Gemma Bertagnolli whose Psalm 112, Laudate peuri, reveals a big, warm voice that makes an immediate impact. The Dixit Dominus, Psalm 109, is a feast of exciting music as well, with a lovely duet for two sopranos and a beautiful (and beautifully sung) "Tecum principium" solo by contralto Sara Mingardo.

Mingardo also is outstanding in the Psalm 126, Nisi Dominus, where she sings with great intensity. Try its "Cum dedent" for singing that combines style, rapt concentration, and deep feeling, all to a gently rocking accompaniment that makes it irresistible. In the following "Sicut sagittae" she displays vibrant attacks and virtuoso vocal runs, while in the "Gloria Patri" she spins long legato lines to organ and viola d'amore accompaniment. The chorus is spotlighted in the Magnificat RV 610a, where its spirited singing takes center stage. Mingardo clearly is the star vocal soloist in the set, but her colleagues are never less than good and most are well above what we too often hear in historically informed performances of Baroque music.

The impressive energy conveyed in the choral singing owes much to the set's guiding force, Maestro Alessandrini, whose leadership consistently results in vital, vibrant performances. Attacks are crisp, dynamics varied, rhythms infectious. Whatever the scholarly efforts that went into this recording, the result bursts with life, making this an essential set for lovers of Baroque vocal music.

– Dan Davis, ClassicsToday.com
Works on This Recording
1. Magnificat in G minor, RV 610a by Antonio Vivaldi
Performer: Gianluca Ferrarini (Tenor), Gemma Bertagnolli (Soprano), Roberta Invernizzi (Soprano), Matteo Bellotto (Baritone), Sara Mingardo (Alto)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
2. Dixit Dominus in D major, RV 594 by Antonio Vivaldi
Performer: Gemma Bertagnolli (Soprano), Roberta Invernizzi (Soprano), Gianluca Ferrarini (Tenor), Matteo Bellotto (Baritone), Sara Mingardo (Alto)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
3. Nisi Dominus in G minor, RV 608 by Antonio Vivaldi
Performer: Ettore Belli (Viola d'amore), Sara Mingardo (Alto)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
4. Benedicta filia tua Domino by Anonymous
Performer: Anna Simboli (Soprano)
Period: Medieval
5. Pulchra es et decora by Anonymous
Performer: Anna Simboli (Soprano)
Period: Medieval
6. Ave maris stella by Anonymous
Performer: Anna Simboli (Soprano)
Period: Medieval
7. Magnificat anima mea Dominum by Anonymous
Performer: Anna Simboli (Soprano)
Period: Medieval
8. Maria Virgo assumpta est by Anonymous
Performer: Anna Simboli (Soprano)
Period: Medieval
9. Assumpta est by Anonymous
Performer: Anna Simboli (Soprano)
10. Salve Regina in C minor, RV 616 by Antonio Vivaldi
Performer: Sara Mingardo (Alto)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
11. Ascende laeta, RV 635 by Antonio Vivaldi
Performer: Roberta Invernizzi (Soprano)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
12. Laudate pueri Dominum in C minor, RV 600 by Antonio Vivaldi
Performer: Gemma Bertagnolli (Soprano)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
13. Lauda Jerusalem in E minor, RV 609 by Antonio Vivaldi
Performer: Gemma Bertagnolli (Soprano), Roberta Invernizzi (Soprano)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
14. Concerto for Violin and Double Orchestra in C major, RV 581 by Antonio Vivaldi
Performer: Antonio De Secondi (Violin)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
15. In furore giustissimae irae in C minor, RV 626 by Antonio Vivaldi
Performer: Sandrine Piau (Soprano), Stefano [violin] Montanari (Violin)
Conductor: Ottavio Dantone
Orchestra/Ensemble: Accademia Bizantina
Period: Baroque
16. Sinfonia for Strings in B minor, RV 169 "al Santo Sepolcro" by Antonio Vivaldi
Performer: Stefano [violin] Montanari (Violin)
Conductor: Ottavio Dantone
Orchestra/Ensemble: Accademia Bizantina
Period: Baroque
17. Laudate pueri Dominum in G major, RV 601 by Antonio Vivaldi
Performer: Sandrine Piau (Soprano), Stefano [violin] Montanari (Violin), Marcello Gatti (Flute)
Conductor: Ottavio Dantone
Orchestra/Ensemble: Accademia Bizantina
Period: Baroque
Written: circa 1730 ; Venice, Italy
18. Concerto for Violin and Organ in D minor, RV 541 by Antonio Vivaldi
Performer: Stefano [violin] Montanari (Violin), Ottavio Dantone (Organ)
Conductor: Ottavio Dantone
Orchestra/Ensemble: Accademia Bizantina
Period: Baroque
19. Concerto for Violin in F major, RV 286 "Per la Solennità di S Lorenzo" by Antonio Vivaldi
Performer: Stefano [violin] Montanari (Violin), Ottavio Dantone (Harpsichord)
Conductor: Ottavio Dantone
Orchestra/Ensemble: Accademia Bizantina
Period: Baroque
20. Crucifixus by Antonio Vivaldi
Performer: Philippe Jaroussky (Countertenor)
Orchestra/Ensemble: Ensemble Matheus
Period: Baroque
21. Stabat Mater in F minor, RV 621 by Antonio Vivaldi
Performer: Marie-Nicole Lemieux (Alto)
Orchestra/Ensemble: Ensemble Matheus
Period: Baroque
22. Nisi Dominus in G minor, RV 608 by Antonio Vivaldi
Performer: Philippe Jaroussky (Countertenor)
Orchestra/Ensemble: Ensemble Matheus
Period: Baroque
23. Concerto for Double Orchestra in F major, RV 584: 1st movement, Allegro non molto by Antonio Vivaldi
Performer: Francesca Vicari (Violin), Mauro Lopes Ferreira (Violin), Francesco Moi (Organ), Ignazio Schifani (Organ)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
24. Domine ad adiuvandum me in G major, RV 593 by Antonio Vivaldi
Performer: Roberta Invernizzi (Soprano)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
25. Antifon to "Nisi Dominus" - Benedicta filia tua Domino by Antonio Vivaldi
Performer: Anna Simboli (Soprano)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
26. Antifon to "Laetatus sum" - In odorem unguentorum by Antonio Vivaldi
Performer: Anna Simboli (Soprano)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
27. Laetatus sum, RV 607 by Antonio Vivaldi
Performer: Francesco Moi (Organ), Ignazio Schifani (Organ), Francesca Vicari (Violin), Mauro Lopes Ferreira (Violin)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
28. Deus in adiutorium by Antonio Vivaldi
Performer: Marco Scavazza (Bass)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
29. Gloria in D major, RV 589 by Antonio Vivaldi
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
30. Ostro picta in D major, RV 642 by Antonio Vivaldi
Performer: Emma Kirkby (Soprano), Sara Mingardo (Alto)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
31. Gloria in D major, RV 588 by Antonio Vivaldi
Performer: Lia Serafini (Soprano), Monica Piccinini (Soprano), Luca Dordolo (Tenor)
Orchestra/Ensemble: Concerto Italiano
Period: Baroque
Customer Reviews