Vivaldi: La verita in cimento [Box set]

Another sumptuous offering from Naïve, La verità in cimento enhances the reputation of both the label and of Vivaldi as a writer of opera. Opera may not be the most highly regarded part of the composer's output, but recordings like this make you wonder why not.

The text sets its complicated love intrigue in the Ottoman east. Vivaldi has been accused elsewhere of showing 'xenophobic animosity' towards things Turkish (see Onofri's excellent essay in another superb Naïve recording, Violin Concertos, vol 1). And while there is the merest hint of orientalising here (with the occasional slide, the suggestion of a zither and some clashing discords) there is nothing cynical or negative about this opera. Its exotic setting merely gives Vivaldi (always a great colourist) an excuse to show off the breadth of his palette.

Such ephemera as set designs and costumes may now be irrecoverably lost, but the music alone provides a continual supply of rich material. As we've learnt to expect from a composer who was always readier to borrow from his own works than from others, the music occasionally recycles ideas explored elsewhere. The attentive listener should be able to recognise music from ripieno concertos (ie those without soloist), and the wonderful slow movement from the violin concerto in c, 'Il sospetto' RV199. Crucially though, all of the music coheres, regardless of its origin.

The recording itself excels. Energy, imagination, commitment, exotic colours and a deeply saitisfying bass combine to make this release memorable. Purists may disagree with me on this point, but the last mentioned element, that rich and resonant bass, adds a vital dimension that is lacking in older recordings. Even if the slightly booming bass is more suggestive of the early C21 than the early C18, and even if it represents a departure from a strict, historically-informed, early instrument ethos, it is a welcome addition, to my ears. The theorbo in particular gains immeasurably from its foregrounding. (For a taste of what to expect, listen to Amazon's digital sample of Track 2, the Sinfonia's Andante.) These Naïve editions aren't cheap, but they represent some of the very best Vivaldi recordings in existence.

Vivaldi is a truly inspired master but I am afraid
he falls a little short of the mark here. Do not expect
a dramatic work of the quality of a 'L'Olimpiade' or
'Il Giustino'. What we do have is a thrilling, if
somewhat questionable, performance by a conductor who
reads more into a score which, to me, at
times comes across as uninspired. For me the balance
between the orchestra and the singers is often out and
the dynamics and accents are at times exaggerated.

The singers are well cast for their roles. The Rossane
has a very beautiful voice and technique, but resorts to
a vibratoless sounds that at times causes confusion
between her and the high counter-tenor. Ms Mingardo as
Melindo sings with a very muffled sound, but at the
same time sings with great inspiration and attention.
The counter-tenor, Mr Jourrousky as Zelim shows great
promise and I hope to hear a lot more of him. Ms
Laurens as Rustena sings her music most beautifully.
However, for me, the true stars of the show are
Ms Stutzmann and Mr Rolfe Johnson. Ms Stutzmann
makes the most, and then some more, of her almost
harridan-like character Damira. Her music, even
when at times tritely set by Vivaldi, turns into a
gala event. I just wish that the Mr Rolfe Johnson's
part had been more elaborately composed.

And there are so many beautiful, if un-dramatic,
moments in this score. Would I buy this recording again?
Yes! Do I like this opera as a piece of art? Yes!
So, if Opus 111 continues in this vein I think we are
Looking ahead to many more treats. ‘Farnace’ is slated to be
next, and I can hardly wait!

Vivaldi returned to Venice in 1720 after a three year absence in the service of the governor of Mantua, to find the city's operatic establishments largely in the hands of uncooperative proprietors. He did however manage to squeeze in a production of "La verità in cimento" for the autumn season at the somewhat unfashionable Teatro Sant' Angelo where he had made his Venetian operatic debut six years previously with Orlando finto pazzo. "La verità" seems to have been successful, however in the ongoing battle between artistic conservatives and modernisers, Vivaldi drew flak in the form of a satirical text "Il teatro alla modo" by Benedetto Marcello, published right in the middle of the opera's run, attacking him mercilessly. The upshot was that Vivaldi left Venice for a further five years.

The storyline for "La verità" revolves around the Sultan Mamud, who, in order to resolve political rivalry between states, intends to marry his son Melindo to Rosane, daughter of the Sultan of Joghe. Melindo, believed to be the legitimate heir, is revealed to be the son of Mamud's concubine Damira, and conversely Zelim, always thought to be the son Damira is in fact the son of the Sultan's wife Rustena, both having been swapped at birth. Further complications result because Zelim is in love with Rosane. As you would expect, various machinations follow, but of course it all ends happily.

This production feels a little below the quality you would tend to expect in this Naive series. Some pleasing performances to be sure, especially when you have vocalists of the quality of contraltos Sara Mingardo & Nathalie Stutzmann and countertenor Philippe Jaroussky at your command, but director Spinosi fails to give this work a real lift and is unable to create something memorable. Sound quality is not the greatest either - the positioning of the microphone doesn't always sound quite right, and it sounds like there is sometimes a bit of extraneous noise going on.

Final verdict: 3.5 stars would probably be around the right level.

The three discs come in a double jewel case, together with a separate booklet, both housed in a cardboard sleeve. The booklet provides historical and musical notes and synopsis in English, French, & Italian, plus libretto with English & French translations.