Gennari Rinaldo

The recordings of the Concerto Italiano under its leader Rinaldo Alessandrini, such as this 1997 release, electrified the authentic-performance movement in Italy. Alessandrini showed that performances of Vivaldi on authentic instruments could be edgy, brisk, even tough. The group's ensemble work was unmatched, but perhaps best of all was its command of the Baroque repertory; programming has consistently featured unusual works that, in performances, sound like they've always been part of the tradition. Included here are three examples of perhaps the most-neglected segment of Vivaldi's vast concerto output: his concertos for strings with no solo instrument.

The most beautiful arias from the Vivaldi Edition: Orlando Furioso, Atenaide, Farnace, Teuzzone, Armida, La Fida Ninfa, Orlando 1714, Griselda, Ottone in villa and much more. The album includes outstanding singers and arias that were sensational discoveries when first introduced in this series.

David Daniels' Rinaldo is surely the equal of his illustrious 18th -century predeccessors. His countertenor is one of the most accomplished voices I have heard… As Arimda, Noemi Nadelmann's voices started where her legs ended, and shet hrew coloratura at us as though it was going out of fashion (astride her pet Hydra being a particularly fabulous show-stopper). David Walker as Goffredo is no vocal sluch either; his voice is brighter edged than Daniels', and almostb as fluent.

Italian singer Sara Mingardo is considered among the more important contraltos of her generation. Her repertory is broad, encompassing works by composers from Monteverdi to Britten, though she has scored some of her greatest successes in operas and sacred music of the Baroque.