VIVALDI L’Oracolo in Messenia
Biondi’s reconstruction of Vivaldi's Messenia pasticcio
View record and artist detailsRecord and Artist Details
Composer or Director: Antonio Vivaldi
Genre:
Opera
Label: Virgin
Magazine Review Date: 12/2012
Media Format: CD or Download
Media Runtime: 156
Mastering:
Stereo
DDD
Catalogue Number: 6025472
Tracks:
Composition | Artist Credit |
---|---|
(L')Oracolo in Messenia |
Antonio Vivaldi, Composer
Ann Hallenberg, Mérope, Soprano Antonio Vivaldi, Composer Europa Galante Fabio Biondi, Conductor Franziska Gottwald, Licisco Julia Lezhneva, Trasimede, Soprano Magnus Staveland, Polifonte, Tenor Romina Basso, Elmira, Mezzo soprano Vivica Genaux, Epitide, Soprano Xavier Sabata, Anassandro, Alto |
Author: David Vickers
The Sinfonia (from Griselda) typifies the vibrant élan which we have come to expect from Europa Galante: crackling fast music that packs a horn-fuelled punch surrounding a slow central movement played with a juxtaposition of delicacy and muscle. Biondi draws 10 arias from Vivaldi’s Atenaide, Catone in Utica, Motezuma, Dorilla in Tempe, Farnace and Semiramide which are readily transferrable to their new dramatic contexts. ‘Se al cader del mostro orrendo’ (from Motezuma) strikingly insinuates that the villain Polifonte is making promises he clearly has no intention of keeping (it transpires he ordered the murder of Merope’s husband and most of her children, and now wants to marry her). Thirteen numbers from Giacomelli’s La Merope include two that Vivaldi had already used in Bajazet and most are impressive evidence of Giacomelli’s qualities: the hero Epitide’s ‘Dono d’amica sorte’ shows off Vivica Genaux’s voice to full advantage; the noble Licisco’s brightly optimistic ‘Sinché il tiranno scendere’ is sung elegantly by Franziska Gottwald. We also hear the famous Farinelli showpiece ‘Son qual nave’ from Broschi’s Artaserse (sung magnificently by Julia Lezhneva’s anxious Trasimede). Licisco’s ‘Nell’orror di notte oscura’ from Hasse’s Siroe is a flamboyant highlight of the final act but the opera’s explosive dramatic climax is Ann Hallenberg’s incisive performance of Giacomelli’s intense scene for Merope when she believes her long-lost sole surviving son has just been brutally assassinated. It turns out that this zesty performance reveals a valuable examination of Giacomelli.
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