Vivaldi armida7/8/2023 Of the women characters Delphine Galou’s Zanaida gets the pick of the arias in a recording that is bright and lets the singers lead, which is as it should be. The bass Luigi De Donato is a youthful Emperor and Emőke Baráth‘s Argippa sounds more satisfying as the plot curdles, with thrilling top notes, callisthenic coloratura and deep dives into the chest register. You can hear Silvero’s remorse for what he has done in ‘Del fallire il rimorso è la pena’ in Act I, and the contralto Marianna Pizzolato gives a fine performance as the guilty seducer. Vivaldi’s musical fingerprints are everywhere on the score – those driving violins with their urgent rhythms, careful word painting and at best characters revealed through their music. A set of parts for this edition can be found under the. Placement of the text in the voice part is the editor's choice. So the Mogul Emperor Tisifaro has a daughter Zanaida who has been married and ravished by Silvero, the man she loves, who has been pretending to be Argippo, the ruler of Chittagong, who really loves Osira. This edition of this piece takes into account, as close as possible, the Vivaldi's handwriting settings, spacing and position of objects like slurs and accidentals, as well as the contrapuntal simplification of the material. Considers whether the London pasticcio Croesus of 1714 contained any music by Vivaldi or Polani, the two composers who were involved in the original Venetian. Sebastiano Biancardi’s libretto skewers the early 18th-century fascination with the Orient as Europe’s trading powers scrambled to extend their trade routes to India and beyond.
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