Image not available for
|Price:||£22.86 & FREE Delivery in the UK. Details|
|1. Sinfonia: Allegro|
|4. Atto primo: Scena 1 [Cleonilla] Recitativo|
|5. Scena 1 [Cleonilla] Aria Quanto m'alletta|
|6. Scena 2 [Cleonilla, Caio] Recitativo|
|7. Scena 2 [Caio] Aria Sole degl'occhi miei|
|8. Scena 2 [Cleonilla, Caio] Recitativo|
|9. Scena 3 [Ottone, Caio, Cleonilla] Recitativo|
|10. Scena 3 [Cleonilla] Aria Caro bene|
See all 36 tracks on this disc
|1. Scena 6 [Cleonilla, Caio] Recitativo|
|2. Scena 6 [Caio] Aria Leggi almeno, tiranna infedele|
|3. Scena 7 [Cleonilla, Ottone] Recitativo|
|4. Scena 7 [Cleonilla] Aria Tu vedrai|
|5. Scena 8 [Decio, Cleonilla, Ottone] Recitativo|
|6. Scena 8 [Cleonilla] Aria Povera fedeltà|
|7. Scena 9 [Decio, Ottone] Recitativo|
|8. Scena 9 [Decio] Aria Ben talor favella il Cielo|
|9. Scena 10 [Ottone, Caio] Recitativo|
|10. Scena 10 [Ottone] Aria Compatisco il tuo fiero tormento|
See all 27 tracks on this disc
The opera’s true gem is a dramatic scena in Act Two featuring the mocking commentary of wronged lover Tullia (Roberta Invernizzi), shrouded in echoing swirls of solo violins and recorders, unheard by the centre-stage Caio pouring forth tortured lament – ravishingly sung by sensational Russian soprano Julia Lezhneva. Her barnstorming vengeance aria at the end of Act One fizzes with rapid-fire coloratura and sky-high ornamentation.
Much of the music is standard Baroque fare but, this being Vivaldi, there is usually something special to admire – such as the raging tornado alternating with tender reflection in the Act One aria for Roman Emperor Ottone, sung by rich-voiced, impassioned contralto Sonia Prina.
The convoluted plot (a typical web of courtly intrigue) is harder to follow than most because four of the five principal roles are played by women – but only two are actually female characters. To muddy the waters further, one of these is playing a woman disguised as a man. Confused? Of course, but it doesn’t matter: what counts is the expressiveness of the performances. A bass aria or two would have been welcome for tonal variety; poor tenor role Decio, well-sung by Topi Lehtipuu, gets the least inspiring numbers.
Despite its almost apologetic origins, Ottone proved successful enough to drum up subsequent commissions from Venice. There is a wealth of Vivaldi opera to explore – an exciting prospect if treated as compellingly as this. It’s not the first recording of Ottone in Villa, but it will be hard to beat.
Find more music at the BBC This link will take you off Amazon in a new window