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Vivaldi: Orlando furioso RV819 (1714) Box set, Double CD

5.0 out of 5 stars 2 customer reviews

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Audio CD, Box set, Double CD, 5 Nov 2012
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Product details

  • Conductor: Federico Maria Sardelli
  • Composer: Antonio Vivaldi
  • Audio CD (5 Nov. 2012)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Format: Box set, Double CD
  • Label: Naïve
  • ASIN: B008R5OKD8
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 264,229 in Music (See Top 100 in Music)
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Track Listings

Disc: 1

  1. Allegro - Modo Antiquo
  2. Grave - Modo Antiquo
  3. Allegro - Modo Antiquo
  4. Recitativo
  5. Vorria La Mia Speranza
  6. Recitativo
  7. Se Fedele Serbi Affetto
  8. Recitativo
  9. La Fè, L'amor Che Ho in Sen
  10. Recitativo
  11. Rivo Che Tumido
  12. Recitativo
  13. Nel Profondo Cieco Mondo
  14. Recitativo
  15. Se Trova Il Lume La Farfalletta
  16. Recitativo
  17. Tu Sei Degli Occhi Miei
  18. Recitativo
  19. E' La Brama in Chi Ben Ama
  20. Recitativo
  21. Porta Il Sol Del Tuo Sembiante
  22. Recitativo
  23. Non Muore Il Fiore
  24. Recitativo
  25. Per Lo Stral Che Vien Da' Rai
  26. Recitativo
  27. Amerò Costante Sempre

Disc: 2

  1. Recitativo
  2. Chi Seguir Vuol La Costanza
  3. Recitativo
  4. Ah, Fuggi Rapido
  5. Recitativo
  6. Taci, Non Ti Lagnar
  7. Recitativo
  8. Piangerò, Sin Che L'onda Del Pianto
  9. Recitativo
  10. Io Sembro Appunto Quell'augelletto
  11. Recitativo
  12. Recitativo
  13. Recitativo
  14. Recitativo
  15. Cara Sposa, in Questo Petto
  16. Grazie Ed Amori
  17. Recitativo
  18. Recitativo
  19. Usignolo, Lascia Il Duolo
  20. Recitativo
  21. Al Fragor De' Corni Audaci
  22. Recitativo
  23. Recitativo Accompagnato
  24. Gran Madre Venere
  25. Recitativo
  26. Recitativo Accompagnato
  27. Diva Dell'Espero
  28. Recitativo
  29. Amaranto Ch'eterno Ha Il Suo Vanto
  30. Recitativo
  31. Recitativo
  32. Recitativo
  33. Sei Mio Nume, Se Il Mio Bene
  34. Recitativo
  35. Io Ti Getto Elmo Ed Usbergo
  36. Recitativo
  37. Ho Cento Vanni Al Tergo

Product description

Product Description

Naïve are delighted to announce the world premiere recording of 'Orlando Furioso', the 1714 version. It scored a huge success at the Teatro San Angelo in Venice, where it was directed by none other than Vivaldi and his father. The manuscript, rediscovered 250 years later in Vivaldi s personal library, now in Turin, was thought to be a revision of an existing 'Orlando' of 1713 by Bolognese composer Ristori. However, the musicologists in charge of the numbering of the works of Vivaldi, Peter Ryom and his successor Federico Maria Sardelli, wondered why Vivaldi should have kept this music in his personal corpus among all his other scores, and noticed that the manuscript featured many different hands and numerous pasted-in corrections of the parts. Sardelli observed obvious similarities between the arias of this 'Orlando' and those of the first two operas of which Vivaldi was the official composer. His intuition was confirmed by the analysis of Reinhard Strohm, a leading expert on 18th-century opera, and the entire musicological community: this music is definitely by Vivaldi! 'Orlando furioso' of 1714 now achieves a new lease of life under a catalogue number that has just been assigned to it: RV 819. Only two acts have survived and Orlando is sung by a baritone, unlike the 1727 version. The 47th Vivaldi Edition recording and 13th opera, this first recording is performed by an outstanding range of soloists: Riccardo Novaro, Romina Basso, Roberta Mameli, Delphine Galou and David DQ Lee - don t miss his breathtaking aria Piangero [Act 2, Sc.5].

Review

The resulting patchwork is surprisingly compelling...there s a softer, simpler charm to this earlier version... Sardelli s direction keeps speeds swift and orchestral texture clean, driving the action forward in the gritty thrum of guitars and continuo. His cast provide all the colours that Vivaldi s orchestration lacks. --Alexandra Coghlan, Opera March 2013

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Top Customer Reviews

Format: Audio CD
There have been two releases of 'new' Vivaldi works recently, New Discoveries Volume 2, and this, Orlando furioso, 1714. More accurately, the opera is a new attribution, having previously been considered the work of the young composer Giovanni Alberto Ristori.

With so much mystery surrounding the opera, there is still a whiff of the spurious about the new offering. Several arias are missing from the manuscript housed in Turin. More are incomplete. The whole of Act III has been lost. Surely, then, this recreation is more to do with musicology than music, and more Sardelli than Vivaldi?

As ever, Sardelli makes a very clear and convincing case in his notes which accompany the recording. He didn't want to burden the world, he says, with another pasticcio, and so rejected the idea of re-creating the third act. Those arias that are taken wholesale from the Vivaldi operas which pre-date this score (Ottone in villa and Orlando finto pazzo) were recycled by the composer himself, with one single exception. Where the music is supplied by Sardelli, filling in for the missing vocal and melodic lines, Sardelli argues that the only other viable alternative was to abandon the fragments altogether. And anyway, he says, 'in this case, the fragmentation was horizontal, not vertical: what was missing was not whole blocks of music but a few lines of a composition that had survived in part.' Perhaps he is being slightly disingenuous here. 'A few lines' refers, after all, to musical parts rather than bars. What has survived is often no more than the basso continuo part and the first few bars of melody.

Despite reservations, this CD has to represent one of the triumphs of recent times in Baroque music.
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Format: Audio CD
In his introduction to the booklet notes, Federico Maria Sardelli, puts forward a strong and decisive case for why this opera should be seen as an original work by Vivaldi and therefore moved from the spurious works (RV Anh. 84) and entered into full catalogue of works. He builds on earlier research before going on to explain how he has had to reconstruct some sections of the opera and why he has refused to re-compose the missing third act. This is a well researched argument and whatever you think, with a performance as good is this, it is a worthy addition to any collection.
I have a few recordings in the Naïve Vivaldi Edition, but the only opera in the series I have is of the 1727 version of the same libretto, which while one of Vivaldi's best known operas, is also one of the most underrated. Yes, this does lead to similarities, after all which composer of the period did not recycle earlier material, but these are distant echoes with the opera on the whole sounding new and fresh.
The performance is one to savour, with all the vocalists giving a spirited performance of this effective performance. If I were to single one singer out it would be Roberta Mameli, who positively sparkles in the all too short role of Astolfo, just listen to her Act 2 aria Ah, fuggi rapido and, like me, you will be wishing that she had more to sing! The instrumentalists too are in fine form and breathe new life into this old music, and all under the expert direction of Federico Maria Sardelli, who proves that he is a lot more than an academic.
The booklet notes are excellent and it is recorded in a pleasingly natural and sympathetic acoustic, making this a most recommendable set. If you have the Naïve recording of the 1727 version of Orlando Furioso and you are dithering over whether to invest in this recording, well dither no more, buy this new recording, it has some really effective and pleasing music and you won't be disappointed!
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Most Helpful Customer Reviews on Amazon.com (beta) (May include reviews from Early Reviewer Rewards Program)

Amazon.com: 4.8 out of 5 stars 6 reviews
0 of 1 people found the following review helpful
4.0 out of 5 stars Interesting Vivaldi opera 29 Dec. 2014
By Dr. Fred E. Koerner - Published on Amazon.com
Format: Audio CD Verified Purchase
It's a treat to have the magnificent French contralto Delphine Galou on an album.
She is terrific.

Overall excellent singing and orchestral work.
0 of 2 people found the following review helpful
5.0 out of 5 stars Vivaldi is an amazing discovery. Listen for yourself 29 Aug. 2014
By Julie Pagitt - Published on Amazon.com
Format: Audio CD Verified Purchase
Absolute marvel. Vivaldi is an amazing discovery. Listen for yourself. Naive's catalog is impeccable.
3 of 8 people found the following review helpful
5.0 out of 5 stars Fast Food Vivaldi 29 Jan. 2013
By Caveat Auditor - Published on Amazon.com
Format: Audio CD Verified Purchase
Performance-wise, this recording of Orlando furioso is among the best in the series of Vivaldi operas recorded on this label. As such, I do not find it necessary to give individual reviews of the singers, because they are consistently excellent. The same applies to the orchestra and its conductor.

Having listened to the entire recording, curiosity prompted me to check off the arias only in iTunes, so the music jumped from aria to aria while skipping the recitatives. What I had surmised became strinkingly evident: Vivaldi pretty much wrote all the arias in a tempo allegro, without much differentiation.

Fortunately, this is a very early Vivaldi opera (and incompletely preserved at that, since act III is lost), so Stravinsky's famous quote "Vivaldi didn't compose 500 violin concerti, he composed a violin concerto 500 times over" is only valid when it comes to the arias of this opera and does not apply to Il Prete rosso's subsequent exploits in the field.

Don't get me wrong - the music is quite delightful, but it isn't Vivaldi at his best. It makes for excellent background music, however.
5 of 5 people found the following review helpful
5.0 out of 5 stars A wonderful discovery! 1 Mar. 2013
By Stuart Sillitoe - Published on Amazon.com
Format: Audio CD
In his introduction to the booklet notes, Federico Maria Sardelli, puts forward a strong and decisive case for why this opera should be seen as an original work by Vivaldi and therefore moved from the spurious works (RV Anh. 84) and entered into full catalogue of works. He builds on earlier research before going on to explain how he has had to reconstruct some sections of the opera and why he has refused to re-compose the missing third act. This is a well researched argument and whatever you think, with a performance as good is this, it is a worthy addition to any collection.
I have a few recordings in the Naïve Vivaldi Edition, but the only opera in the series I have is of the 1727 version of the same libretto, which while one of Vivaldi's best known operas, is also one of the most underrated. Yes, this does lead to similarities, after all which composer of the period did not recycle earlier material, but these are distant echoes with the opera on the whole sounding new and fresh.
The performance is one to savour, with all the vocalists giving a spirited performance of this effective performance. If I were to single one singer out it would be Roberta Mameli, who positively sparkles in the all too short role of Astolfo, just listen to her Act 2 aria Ah, fuggi rapido and, like me, you will be wishing that she had more to sing! The instrumentalists too are in fine form and breathe new life into this old music, and all under the expert direction of Federico Maria Sardelli, who proves that he is a lot more than an academic.
The booklet notes are excellent and it is recorded in a pleasingly natural and sympathetic acoustic, making this a most recommendable set. If you have the Naïve recording of the 1727 version of Orlando Furioso and you are dithering over whether to invest in this recording, well dither no more, buy this new recording, it has some really effective and pleasing music and you won't be disappointed!
3 of 4 people found the following review helpful
5.0 out of 5 stars Fantastic recording 14 Feb. 2013
By KH Birmingham - Published on Amazon.com
Format: Audio CD
Fantastic from beginning to end. The conductor is clearly a scholar as well, and has done a great deal of the work of compiling this edition of the opera. While the extensive program notes can be a little difficult to follow in terms of what was written when and how numbers were rearranged, that's the way it is with early music. The singers were all stellar, and the orchestra was fantastic. Ornamentation was both expressive and stylish. While this wasn't perhaps Vivaldi's greatest work, it's certainly the best recording that one could hope for.
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