Vivaldi Ottone in Villa

Vivaldi's first opera, Ottone in Villa (loosely, Ottone's Vacation), is something of an anomaly in the composer's output of largely tragic, heroic works: a pastoral comedy. Written in 1713 when the composer was 35, Ottone demonstrates Vivaldi's instinctive grasp of the operatic form and his gifts for characterization and dramatic development. Naïve continues its admirable series, The Vivaldi Edition, with this outstanding recording of the opera, a real gem. Giovanni Antonini leads Il Giardino Armonico, which plays with gleaming transparency. The performance is wonderfully lively and the opera's dancing energy is conveyed with high spirits and humor. Vivaldi is not a composer usually associated with comedy, so Ottone surprises with its wealth of delightful, sly wit.

Antonio Vivaldi’s fame as an opera composer is due in now small part to his incredible industry. He composed around 50 operas, and of these around 16 have survived complete – several substantial fragments of others have also survived. It is for his instrumental music that he remains one of the major baroque composers – on a par with Handel and J.S. Bach, however, in the world of opera at the time, only one other composer rivalled Vivaldi in the use of orchestral colour and the way in which the human voice was blended with the accompaniment. The writing for voice generally is on a very high level. The rival was of course Handel, and Vivaldi also was a considerable impressario as was his German/British colleague.

This, Vivaldi's very first opera, was premièred in Vicenza in 1713 and was an instant hit. The story is a relatively uncomplicated one by the standards of Baroque opera, of amatory pretences and misunderstandings: it has been admirably summarised by Eric Cross (who has edited the work) as a 'light-weight, amoral entertainment in which the flirtatious Cleonilla consistently has the upper hand, and gullible Emperor Ottone (a far from heroic figure) never discovers the truth about the way he has been deceived'. The score proceeds in a succession of secco recitatives (with just a very occasional accompagnato) and da capo arias – which the present cast ornament very stylishly.

Antonio Lucio Vivaldi (4 March 1678 – 28 July 1741), nicknamed il Prete Rosso ("The Red Priest") because of his red hair, was an Italian Baroque composer, Catholic priest, and virtuoso violinist, born in Venice. Recognized as one of the greatest Baroque composers, his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over forty operas. His best known work is a series of violin concertos known as The Four Seasons.

Twenty years after her Vivaldi Album helped reignite interest in the composer’s fine operas, Bartoli returns to the operatic music. Joined by Ensemble Matheus and Jean-Christophe Spinosi, she spins off the vocal fireworks with technique that’s as impressive as ever—but her voice has developed with age like a fine wine, revealing new layers of warmth. As a survey of Vivaldi’s stage works, this collection is invaluable, but Bartoli sprinkles it with star quality and a palpable love of this ever-inventive music.

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.

Philippe Jaroussky's countertenor is not a large instrument, but what an instrument! He sings with flawless intonation; a tone that is sweet, pure, even, and focused over the full extent of his wide range; and a breathtaking command of coloratura technique. The impression that his voice is perhaps more elfin than heroic seems of minor consequence in light of its beauty, and the expressive intelligence and musicality he brings to these characters from Vivaldi operas. In spite of the bravado of the album's title, Vivaldi Heroes, many of the arias are exquisitely tender, showcasing Jaroussky's strengths in bringing out the characters' humanity and vulnerability. Any number of arias could be singled out, but "Vedro con mio diletto," from Guistino, is a standout. Matheus Ensemble, led by violinist Jean-Christophe Spinosi, is a full partner in its sensitivity and musicality and offers nuanced and colorful support.

10 CDs performed by outstanding artists such as Sigiswald Kuijken, Andreas Staier, Michael Schneider, Skip Sempé, Thomas Hengelbrock, Freiburger Barockorchester, Collegium Aureum, Camerata Köln, La Petite Bande, Capriccio Stravagante and more.