It is a nice idea for the Orchestra of the Age of Enlightenment to record a disc of such varied Vivaldian fare. The young women of the orchestra which Vivaldi directed at the Ospedale della Pieta in Venice were as renowned for the range of instruments they could wield as for their virtuosity; so it seems neatly apposite that the OAE, so full of capable soloists itself, should use this music to celebrate its members’ own star qualities. And the mixture is a wide one: three solo concertos; a rare Concerto for two horns; the deservedly popular Concerto for lute and viola d’amore, two concertos for typically extravagant Vivaldian multiple line-ups; and one of those chamber concertos in which all the players are soloists.
The OAE play with great expertise and good taste throughout. Judging by the list in the booklet, they use a relatively large body of strings but, although this is noticable, there is no feeling of heaviness, and indeed the use of two double basses gives the sound a substantial foundation which is at the same time deliciously light on its feet. There is a total of 16 soloists listed, so I cannot mention them all, but among the highlights here were David Watkin’s habitually assured and intensely musical playing of the Cello Concerto; Lisa Beznosiuk, sensitive as ever in La Notte (though struggling a bit against the string sound); Andrew Clark and Roger Montgomery, treading securely and confidently through the Concerto for two horns; Anthony Robson, a little under the note sometimes but showing good breath control and phrasing in the Oboe Concerto; and a fairy-light performance of the Concerto for lute and viola d’amore from Elizabeth Kenny and Catherine Mackintosh.
The performances are all directorless, and there was the odd place where a guiding hand might have pepped things up (or stopped the theorbo from twiddling so much in the slow movement of the Cello Concerto), but in general this is a relaxed and convivial Vivaldi programme that one can simply sit back and enjoy.'