![]() ![]() "Io son frà l'onde" is an example of the classic aria di tempesta in which the singer compares herself to a ship tossed about on the ocean during a terrifying storm. This selection of 16 arias or ensembles contains its share of familiar genres. Not exactly a "greatest hits" collection, then, but a great and varied collection nevertheless. At any rate, Foà 28 is a treasure trove of arias for different voices and different dramatic situations. Of course these explanations are not mutually exclusive. Another is that Vivaldi simply wanted to set aside some of his most attractive and marketable material for sale, one aria at a time, to interested individuals. One is that such a collection would provide Vivaldi, then traveling extensively, with raw materials for assembling a new opera or pastiche. But why would Vivaldi do this? Two possible explanations are proffered. How did they get there? The answer is that Vivaldi himself probably put them there. Volume 28 in Turin's so-called "Foà Collection" contains 47 operatic arias or ensembles composed by Vivaldi between 17. At first glance, this might appear simply to be a "greatest hits" collection from Vivaldi's operas, but the truth is a little more unusual than that. Invernizzi’s interpretation is aided and abetted by La Risonanza’s fine group of instrumentalists and, of course, sympathetic direction from Fabio Bonizzoni, speaking volumes for their long musical association.This is another volume – Volume 27, in fact! – in Naïve/Opus 111's ongoing series of music by Vivaldi – specifically, manuscripts located in the National University Library in Turin. The programme offers a set of contrasts in known arias from Vivaldi’s operatic music and those which deserve to be better-known. ![]() Invernizzi triumphs, crowned by her electrifying performance of 'Dopo un’orrida procella' from 'Griselda'. This new journey, on Glossa, showcases Vivaldi’s own fertile dramatic capacity to capture moods and a whole range of emotional highs and lows embracing anger, despair, anxiety, amorous frustration and touching intensity. ![]() Invernizzi is known for her style and drama in the music of the Baroque (as on recent discs of Handel and Campra). $ Ī new recording from Roberta Invernizzi always gives pleasure, but on the rare occasion when the Italian soprano is placed in the spotlight, as with this new collection of opera arias, it promises something very special indeed. ![]()
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