Vivaldi: cantatas, motets, and other sacred works

[Bogey]

Using Arkive Music as a categorical guide, what do you have and enjoy within this given framework of cantatas, motets, and other sacred works?  I have Muti's Magnificat and Gloria, enjoy it much and would like to continue exploring more choral works from Vivaldi.

[val]

Some suggestions:

Gloria, by Stephen Preston (a beautiful Choir) (DECCA)

Stabat Mater, with Sara Mingardo and the Concerto Italiano (Musica Sacra vol. I) (OPUS 111).

Nisi Dominus, Motets, by Teresa Berganza and Ros-Marbá (ENSAYO)

Magnificat, Dixit Dominus, by Robert King, vol. I of his sacred music (HYPERION)

Juditha Triumphans, conducted by Negri, not very exciting, but with remarkable soloists: Ameling, Hamari, Finnila.

[Que]

Bill, some favourites.

 

 

Q

[dtwilbanks]

Gee, why do you like those, Mr. Q? 

[Bogey]

Thanks for the bump here, toucan.  I will look into this set.

[Antoine Marchand]

If I had to choose just one recording, I would choose this 2-CD set of the Vivaldi Edition:

[Wanderer]

If I had to choose just one recording, I would choose this 2-CD set of the Vivaldi Edition:

Definitely.

As well as this:

[Que]

If I had to choose just one recording, I would choose this 2-CD set of the Vivaldi Edition:

Me too. 

Q

[kishnevi]

Me too. 

Q

Antoine's choice was the first recording I thought of.
As a supplement,  try the King's College Choir recording of the Gloria/Dixit Dominus/Magnificat on EMI.

I was not happy with the Muti recording of the Gloria/Magnificat. At least as currently remastered on GROC, it sounds as if the mikes were covered with pillows--everything is uniformly muffled.

[knight66]

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Jaroussky and Lemieux with two Vivaldi works, a short disc, but one that enjoyed enough not to mind. First up is the Nisi Dominus, usually recorded by a female, here it is the countertenor and it is his singing of the slow movements that really caught my attention here. The singing is inwards and hushed. Some of the faster areas of the piece sound a bit too fast to me.

The other piece is the Stabat Mater which both singers have previously recorded. I have not heard Lemieux on her earlier version. This one is very fine, the conductor allow time for the music to breathe and the singer to express. She has quite a rich voice, the music does not sound starved and she expresses the words well.

Mike

[Marc]

Of course I am a fervent supporter of HIP et al, but this 1967 performance of Stabat Mater RV 621 still moves me, mainly because of the heartfelt singing by Aafje Heynis. (And probably also because of warm childhood memories.)

https://www.youtube.com/watch?v=X3a9QXnRHK4

[KevinP]

Laudate Pueri (rv 601) Quite operatic solo soprano piece with some really beautiful moments.
In Furore
Lauda Jerusalem (for two choruses and soloists)

Robert King's versions for me. (Strangely, for works that have dozens of recordings, his never make an impression on me, but for works with only a handful of renditions, I always seem to find his the best.)

Some of this sacred works have extremely short movements which, unless they run directly into the next movement, has a negative effect on my enjoyment. But that's me.

Will provide a more complete list when I'm home.

[betterthanfine]

Laudate Pueri (rv 601) Quite operatic solo soprano piece with some really beautiful moments.
In Furore
Lauda Jerusalem (for two choruses and soloists)

Robert King's versions for me. (Strangely, for works that have dozens of recordings, his never make an impression on me, but for works with only a handful of renditions, I always seem to find his the best.)

I have Robert King's boxset on Hyperion. It contains some amazing recordings. For In furore iustissimae irae, however, I definitely prefer the recording by Julia Lezhenva and Il Gardino Armonico on Decca:

https://www.youtube.com/v/MeXS8S3ftwU

The coloratura is out of this world, and there's just so much fire in the ensemble! Unbeatable. Makes King and his soprano seem tame in comparison.

[Que]

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Thanks for the recommendation! 

Q

[betterthanfine]

Geen dank, Que! I saw this young lady at the Muziekgebouw in Amsterdam last year and was thoroughly impressed.

[aligreto]

Vivaldi's orchestral music is well known and loved by some but Vivaldi's best kept secret is his Sacred Music. His time in the Ospedale della Pieta as is his work with those, what must have been, amazingly talented female instrumentalists and vocalists have led to such wonderful compositions in this genre and he was apparently contracted to write at least two motets each month.

Motet: Vestro Principi divino RV633

It has been deduced that the motet Vestro Principi divino was composed in order to be performed at the end of Holy Week. It is a work written for a solo contralto voice. It is a relatively short work typically lasting roughly eight and a half minutes. The work is written for modest forces and it is in three movements:
Aria No. 1 [Allegro]
Recitativo
Aria No. 2 [Presto]
Alleluia [Presto]

The following are the four versions that I have in my collection sung by two different female and two different male voices.



Stutzmann/King:





Stutzmann's voice is strong yet light, clear and ardent. King delivers his typical direction in Vivaldi and the pacing is tight and yields up the requisite Vivaldian lilt and rhythm. Arias I and II are very engaging in their elegance and one senses the inherent devotional aspect of the music with it still being performed joyfully. I like this version of the short recitative. It has a nice balance and atmosphere. The Alleluia is assertive but the pace and tone are just right. As ever, King delivers a poised and refined version of Vivaldi's Sacred Music.

[aligreto]

Motet: Vestro Principi divino RV633


Lesne/ Ensemble Il Seminario musicale:





I particularly like this version as it has a somewhat intimate chamber feel to it due mainly to the nature of the continuo accompaniment. Lesne's voice is well known and its light sonorities make it very suitable for this music I feel. Arias I and II are charmingly and lyrically sung. They are well paced and have the requisite sense of devotion. That continuo comes into its own with a wonderful version of the Recitative. The Alleluia is well paced and vibrant. This is an elegant performance throughout.

[aligreto]

Motet: Vestro Principi divino RV633


Polverelli/De Marchi:





Polverelli's voice, for me, is just a bit on the heavy side. De Marchi directs a delicate but slow tempo throughout, the total duration lasting approximately an extra half minute. This removes the essentially inherent urgency and rhythmic integrity of the music. As a result, and coupled with the heavier tones of Polverelli's voice, it is a slightly cumbersome version comparatively. It certainly is not a poor or a sub standard version. For me it just lacks energy, drive and vibrancy [which is the way that I prefer Vivaldi's music to be played]. Others may really like it as it is quite devotional in tone and colour. It is well played and sung. I do not dislike it, it is just the least preferred version of those that I own.

[aligreto]

Motet: Vestro Principi divino RV633


Scholl/Dyer:





Scholl and Dyer deliver a fine performance. Scholl's voice is well known and his delivery is light but strong and his line is very clear and distinct. He delivers a vibrant and delicate version of both Arias I and II where the tone is slightly more joyful than devotional. This by way of contrast is reversed in the Recitative. The Alleluia is probably the most celebratory version of my four versions. Dyer delivers the requisite vibrant tempi throughout. This is an elegant and poised presentation overall.

[Que]

Motet: Vestro Principi divino RV633
Polverelli/De Marchi:



Polverelli's voice, for me, is just a bit on the heavy side. De Marchi directs a delicate but slow tempo throughout, the total duration lasting approximately an extra half minute. This removes the essentially inherent urgency and rhythmic integrity of the music. As a result, and coupled with the heavier tones of Polverelli's voice, it is a slightly cumbersome version comparatively. It certainly is not a poor or a sub standard version. For me it just lacks energy, drive and vibrancy [which is the way that I prefer Vivaldi's music to be played]. Others may really like it as it is quite devotional in tone and colour. It is well played and sung. I do not dislike it, it is just the least preferred version of those that I own.

Agreed. One of the rare occasions I found a recording in this series a failure... but there it is.

Q