ANTONIO VIVALDI Opera Arias
Roberta InvernizziLa RisonanzaFabio Bonizzoni
GCD 922901
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Roberta Invernizzi, soprano
La Risonanza
Paolo Bacchin, trumpet Marco Panella, Alessandro Denabian, horns Nicholas Robinson, solo violin & viola d’amore Silvia Colli, Elena Telò, first violins Carlo Lazzaroni, Rossella Borsoni, Ulrike Slowik, second violins Gianni de Rosa, viola Caterina Dell’Agnello, cello Davide Nava, double bassCraig Marchitelli, archlute, theorbo & Baroque guitar
Fabio Bonizzoni, harpsichord & direction
Production details
Total playing time 70:14 Recorded at Oratorio di Santa Croce, Mondovì, Italy, in October 2011 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Design: Valentín Iglesias Booklet texts: Mark Wiggins & Renato DolciniEnglish - Français - Deutsch - Italiano - Español
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ANTONIO VIVALDIOpera Arias
01 Combatta un gentil cor 4:30 [Lucio – Tito Manlio, atto II, scena XI]
02 Leggi almeno, tiranna infedele 5:40 [Caio – Ottone in villa, atto II, scena VI]
03 Da due venti un mar turbato 3:15 [Ippolita – Ercole sul Termodonte, atto II, scena I]
04 Non ti lusinghi la crudeltade 8:48 [Lucio – Tito Manlio, atto II, scena I]
05 Rete, lacci e strali adopra (Geminiano Giacomelli) 4:14 [Filindo – Dorilla in Tempe, atto II, scena IX]
06 Se garrisce la rondinella 6:11 [Ersilla – Orlando finto pazzo, atto II, scena XIV]
07 Ombre vane, ingiusti orrori 6:34 [Costanza – Griselda, atto III, scena V]
08 Fra le procelle del mar turbato 4:43 [Lucio – Tito Manlio, atto II, scena XVIII]
09 Dite, ohimè! Ditelo, al fine 2:38 [Morasto – La fida ninfa, atto III, scena X]
10 Nacque al bosco e nacque al prato 4:07 [Leocasta – Il Giustino, atto I, scena VI]
11 Tu dormi in tante pene 8:40 [Servilia – Tito Manlio, atto III, scena I]
12 Gelosia, tu già rendi l’alma mia 3:12 [Caio – Ottone in villa, atto I, scena XI]
13 Se mai senti spirarti sul volto 10:26 [Cesare – Catone in Utica, atto II, scena IV]
14 Dopo un’orrida procella 4:27 [Ottone – Griselda, atto III, scena VI]
About this CD
A new recording from Roberta Invernizzi always betokens pleasure, but the rare occasion when the Italian soprano is placed in the spotlight – as with this new collection of opera arias by Antonio Vivaldi – promises something very special indeed. Invernizzi is known for her style and dramatic vividness in the music of the Baroque (such as on recent discs of Handel and Campra), perfectly suitable for this new rollercoaster journey of the emotions released by Glossa, courtesy of Vivaldi’s own fertile dramatic capacity to capture moods – pastoral evocations, storms at sea, hunting and even prison scenes. And a whole range of emotional high and low points – embracing anger, despair, anxiety, amorous frustration and touching intensity – are captured by Invernizzi, crowned by her electrifying performance of Dopo un’orrida procella from Griselda.
The programme offers a set of contrasts in known arias from Vivaldi’s operatic music and those which deserve to be better-known (and which surely will). Invernizzi’s interpretation is aided and abetted by La Risonanza’s fine group of instrumentalists; and, of course, there is sympathetic direction from Fabio Bonizzoni, speaking volumes for his long musical association with Roberta Invernizzi.
A wonderful opportunity to get closer to the unfolding world of Vivaldi’s dramatic music with the dazzling and alluring voice of Roberta Invernizzi.
Roberta Invernizzi is very clearly one of the finest sopranos to be heard today in the Baroque - and especially the Italian Baroque - repertory, as evidenced by the beauty that she brings not only to operatic roles and vocal roles which have been essayed by many other famous singers both on record and in performance, but also by her sense of clarity in and characterization of unknown music from the 17th and 18th centuries. The rediscovery of so much Italian music is a reflection of the labour and artistry of numerous musical minds but as a kind of prima donna inter pares the Milanese soprano stands out from many others for the intensity of her approach, to the point that she is emerging as a new muse for other distinguished modern-day practitioners of the Italian Baroque such as Fabio Bonizzoni and Antonio Florio who contribute here their own thoughts on the artistry of Roberta Invernizzi, adding to the soprano’s own considerations about her musical life.[read more...]
As talented as Fabio Bonizzoni is in performing music from across the Baroque spectrum – witness his Glossa recording of Bach’s Die Kunst der Fuge – he has become increasingly celebrated for his interpretations of music from Italy. This embraces not only the music of native composers such as Alessandro Scarlatti (the Serenate a Filli album) but, of course, the series of Handel Cantatas in Italian, Lully’s Ballets et récits italiens and now there is a pastiche opera with music by André Campra (born in Aix-en-Provence, but whose father was from Turin). The new recording, Gli strali d’Amore sees Bonizzoni and La Risonanza joined by haute-contre Cyril Auvity and bass Salvo Vitale as well as Bonizzoni’s fellow Milanese musician, the soprano Roberta Invernizzi, whose career as a solo star – as opposed to as her being an ensemble singer – is now starting to blossom (as they say, watch this space...). [read more...]