Vivaldi La Senna Festeggiante

Three serenatas by Vivaldi survive (he is known to have composed at least eight)‚ of which La Senna festeggiante is by far the most enjoyable…One of the work’s most interesting features is Vivaldi’s deliberate use in places of elements of French style‚ for instance in the solemn ‘ouvertur’ which opens Part 2 and the courtly minuet of The Golden Age’s second aria‚ thereby adding to the richness of a work which for the most part is vintage Vivaldi at his most buoyant and irresistible.

Vivaldi is best known as a composer of instrumental music, but the man has also written a lot of secular vocal music, from large-scale operas to the more intimate cantatas. "La Senna festeggiante" is not a real opera, but a 'serenata', a word derived from the Italian 'sereno' (clear). The genre was so named because the spectacles in question were performed outdoors on clear, warm summer nights. Serenatas were usually written by order of a nobleman or high clergyman, as part of large celebrations to mark a special event such as a birthday, the birth of an heir, a marriage, the arrival of an important person, and so on. They were usually performed in the principal's palace garden.

"Vintage Vivaldi‚ buoyant and irresistible.
Three serenatas by Vivaldi survive (he is known to have composed at least eight)‚ of which La Senna festeggiante is by far the most enjoyable…One of the work’s most interesting features is Vivaldi’s deliberate use in places of elements of French style‚ for instance in the solemn ‘ouvertur’ which opens Part 2 and the courtly minuet of The Golden Age’s second aria‚ thereby adding to the richness of a work which for the most part is vintage Vivaldi at his most buoyant and irresistible. Those who like to mark his vocal writing down as ‘instrumental’ will nod knowingly at the veering melodic lines of The Seine’s ‘L’alta lor gloria immortale’‚ but overall the music flows with pleasing naturalness‚ simple but effective characterisation…Rinaldo Alessandrini directs an exemplary performance‚ paying as much attention to the details of this sycophantic creation as if it really meant something‚ and‚ as he does so often‚ maintaining the music’s energy and interest without drawing undue attention to himself. The three soloists sing with brightness‚ verve and technical agility‚ the orchestra is assured‚ and all are served by a clear and natural recorded sound. A delight all round."

A small opera played in the evening as part of a festive event, the Venetian Serenata was performed outdoors as a crowning moment of the ceremonies. The French Ambassador is said to have commissioned Vivaldi to create this festive Seine to be performed in the Loggia of his Palace overlooking the Lagoon in 1725. As Louis XV came to power after the Regency, the Virtue and the Golden Age returned to France and to the Seine to celebrate the glory of the King. This Serenade, the most extensive left by Vivaldi, is a sumptuous tribute to the young French sovereign. Diego Fasolis conducts the Orchestre de l’Opéra Royal and its magnificent soloists, restoring the colours of this masterpiece, adorned with gold and jewels like the French Crown.

The acclaimed Polish period band Arte dei Suonatori perform eight of Vivaldi’s concertos a Quattro. Their version of Handel’s 12 Concerto grossi Op. 6 was awarded ‘Orchestral Choice of the Month’ in BBC Music Magazine, alongside further critical acclaim from the international music press. As well as being a major composer in the formation of the solo concerto, he also was the leading exponent of the older concerto a quattro – music in four parts, with several players to a part. His works in this genre are notable not only for their beauty, but also for their experimental character and for providing the most important examples of fugal writing in Vivaldi’s instrumental music.

It is a familiar fact that Antonio Vivaldi was a prime mover in the creation of the solo concerto, but what is less well known is that he also was the leading exponent of the older concerto a quattro – music in four parts, with several players to a part, intended for what we nowadays would call a string orchestra with continuo. As Vivaldi expert Michael Talbot explains in his informative liner notes, these works are notable not only for their beauty, but also for their experimental character and for providing the most important examples of fugal writing in Vivaldi’s instrumental music. It is not known when Vivaldi started to write them, but most of the almost fifty concertos probably originate from the 1720s and 1730s. .