Topic: Vivaldi: cantatas, motets, and other sacred works

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

Q

Cheers, Que. It can be difficult to level any sort of criticism whatever against any CD in such a, deservedly, well respected series. They are such Sacred Cows [pardon the pun].

[Que]

Cheers, Que. It can be difficult to level any sort of criticism whatever against any CD in such a, deservedly, well respected series. They are such Sacred Cows [pardon the pun].

I'm probably quite infamous in these circles for slaughtering holy cows....   

Anyway, in my search for other Vivaldi motets recordings, I came across something I can recommend:

Astronio's energy level is not like that of a Biondi, but the conducting is very stylish and sensitive and the singing is terrific.

And here is Biondi - another great recording (might be hard to find):



 Q

[aligreto]

Anyway, in my search for other Vivaldi motets recordings, I came across something I can recommend:

Astronio's energy level is not like that of a Biondi, but the conducting is very stylish and sensitive and the singing is terrific.

Thank you for the recommendations. I do not have or know that one Que.

And here is Biondi - another great recording (might be hard to find):


Q

That one I do have and like very much.

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Motet: Vos aurae per montes RV634


This motet was written for the feast of St. Anthony of Padua. This work tends, overall, to be more on the celebratory than the devotional side as it extols the virtues of the saint. It is written for a soprano voice and the writing is challenging. A typical performance lasts approximately thirteen minutes.

The work is in the standard four movement structure:

Aria No. 1 [Allegro]
Recitativo
Aria No. 2 [Andante molto]
Alleluia [Allegro]

The following are the three versions that I have in my collection all of which are sung by females:



Sampson/King:





Sampson’s voice is strong yet mellow and she is very clear in her delivery. King, again, 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 delivered very well by Sampson in terms of her ornamentation which is never affectatious. She is also strong, ardent and compelling without being over assertive.
The recitative is very lyrical and it is effectively delivered with a very simple continuo. 
The Alleluia is buoyant and the pace and tone are just right.

Once again, King delivers a very fine version of Vivaldi’s Sacred Music which has great presence.

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Zádori/Németh:





Zádori’s voice is lighter in tone than that of Sampson. She has a crystal clear presentation. Németh’s pacing is taut but actually feels on the relaxed side. His sound, perhaps the size of his ensemble, sounds more full than that of King. Either way it sounds good.

Arias I and II are delivered very well by Zádori in a delightfully relaxed and lilting manner. Her ornamentation is also fine and it never feels forced. The tone of the two arias is celebratory.
The recitative is earnest and is accompanied by a chamber organ.
The delivery of the Alleluia is poised and energetic in a refined presentation.

This is a fine performance throughout. It is very well played, sung and paced.

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LeBlanc/Stubbs:





LeBlanc’s voice is strong, bright and light and I would place its tone akin to that of Zádori above. It is crystal clear. I am a long admirer of LeBlanc’s voice. I find it to be effortless in its delivery.  Stubbs delivers a very sympathetic accompaniment that is well paced using a small ensemble.

Arias I and II are both vibrant deliveries definitely in a celebratory mood. They are driven but are not over assertive. LeBlanc’s ornamentation appears to be minimal in its application but it is very effective in its subtlety.
The recitative has a slightly haunting air to it due to the somewhat reverberant acoustic. It is accompanied by a simple continuo and it is a delight.
The Alleluia is joyous, celebratory, well paced [pressed but not driven] and it is delightful.

This is a very fine, chamber-like presentation.

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Salve Regina: RV 616

The Salve Regina is the Marian antiphon prescribed for the period running from Trinity Sunday to the Saturday preceding the first Sunday in Advent. This antiphon has six sentences, which Vivaldi sets as six contrasting movements in RV .

Vivaldi wrote three settings for the Salve Regina. The Salve Regina RV 616 is scored for alto, most probably for a female, and double orchestra which is laid out in two choirs. This setting requires the usual strings but also two recorders and a transverse flute in the first choir. The vocal writing has a great beauty to it and it does require some ornamentation.

The Latin text is as follows:

Salve, Regina, Mater misericordiæ,
vita, dulcedo, et spes nostra, salve.
Ad te clamamus exsules filii Hevæ.
Ad te suspiramus, gementes et flentes
in hac lacrimarum valle.
Eia, ergo, advocata nostra, illos tuos
misericordes oculos ad nos converte.
Et Jesum, benedictum fructum ventris tui,
nobis post hoc exsilium ostende.
O clemens, O pia, O dulcis Virgo Maria.

The following are the six versions that I have in my collection, interestingly four male and two female vocalists. The standard performance duration is around sixteen/seventeen minutes.

Scholl/Dyer:





Scholl and Dyer deliver a fine performance. Scholl’s delivery is light but strong. The overall tone is devotional but when the Vivaldian moments are required Dyer delivers the requisite spirit and sense of vibrancy when called upon.

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Kowalski/Negri:





Kowalski has a strong but smooth voice which lends a certain gravitas to the presentation. He is intense but never ponderous. Negri delivers up the requisite faster tempi well when appropriate. This is a robust, solemn delivery.

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Lesne/Biondi:





This Lesne/Biondi presentation feels “lighter” but is one that has great presence. Lesne produces a fine, vibrant display. It is a speedy version, lasting thirteen and a half minutes. It is therefore, less solemn in tone and somewhat more celebratory. I must admit that it is a particular favourite of mine.

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Stutzmann/King:





Stutzmann’s voice is strong, clear and ardent. Stutzmann and King deliver a version which is definitely on the solemn and devotional side. It is a strong delivery and presentation throughout.

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Chance/Pinnock:





Chance’s voice is somewhat deceptive in the strength of its delivery; its seems lightweight but it has a strength and clarity about it. Chance’s ornamentation is overt but it is very effective. This is a fine presentation, and it delivers on the solemn side in tone.

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Mingardo/Alessandrini:





Mingardo’s voice is rich and robust and she delivers an eloquent and solemn prayer. The orchestral accompaniment is equally rich and robust and both Mingardo and Alessandrini deliver a typically refined and polished performance.