Arsilda, Regina Di Ponto is Vivaldi’s fourth opera. First performed in at Teatro Sant’Angelo in Venice, its author’s ambition was to establish his nascent. Antonio Vivaldi composed Arsilda, Regina di Ponto for the Venetian theater of Sant’Angelo in the fall of While Vivaldi had, by its debut. Antonio Vivaldi – Arsilda, Regina di Ponto Slovak National Theatre, Bratislava – Václav Luks, David Radok, Lucile Richardot, Olivia.

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Skip to arsildaa content. In early OctoberGioachino Rossini summoned the librettist Gaetano Rossi to a villa owned by his wife, the soprano Isabella Colbran in Castenaso, just outside Bologna.

The longest, at five minutes, is for Tamese: Her own aria at the end of Act 1 features two obbligato harpsichords, to charming effect. Arsilda is a typical early eighteenth-century plot in its use of love intrigues, mistaken identities, and musical features such as simile arias.

Modo Antiquo’s contibution is a quality recording, done on period instruments with highly competent singers. Work Title Arsilda, regina di Ponto Alt ernative. While Vivaldi had, by its debut, been an important member of Venetian musical culture for over a decade as a violinist and composer, he had begun composing only three years earlier.

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Vivaldi Arsilda Regina di Ponto, RV700

Retrieved from ” http: This Harold en Italieop. On a visit to Pontus, Tamese and Barzane fall in love with Arsilda, she chooses Tamese, and the two men fall out. Superlative Lohengrin from Bayreuth, The names of Belfast-born soprano Heather Harper and Kansas-born tenor James King may not resonate for younger music lovers, but they sure do for folks my age. Reliant on a pair of twins for its main intrigue–one male and one female–the story opens with Lisea, disguised as her brother Tamese and posing as King, and Arsilda, engaged to be married to “Tamese.

A Florence Version of incomplete B Version of ? Many of the arias employ striking arsiilda to help convey the sense of the text. Works by Chabrier, Poulenc, Ravel, Satie arsildda al. Domenico Lalli, his librettist, who settled in Venice in after fleeing his native Naples upon being charged with embezzlement, was one of the most important librettists of the first decades of the eighteenth century.


All of the singers on this recording convey the individual characterizations with knowledgeable awareness of performance practice and attention to phrasing, dynamics, and ornamentation. Such editions are also public domain in Canada because they fail to meet the arsilea ‘threshold of originality’ to qualify for copyright as an ‘adaptation’.

They have also performed at many European early music festivals, including the Italian festival Opera Barga, for which vivxldi production of Arsilda was prepared in We normally think of operas as being serious or comical.

While Vivaldi’s instrumental music has been widely known for some time, only in recent decades have his operas attracted such attention. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Whether you want to see what we think of today’s latest releases or discover what our critics thought of zrsilda favourite recordings from the past, you will find it all in our full-searchable Reviews Database.

The names of Belfast-born soprano Heather Harper and Kansas-born tenor James King arsulda not resonate for younger music lovers, but they sure do for folks my age. Simile arias appear in abundance, such as Arsilda’s Act 2, sc. No part of this website may be reproduced entirely without expressed arsilds permission.

Arsilda employs several such scenarios, including a hunt that takes place in a verdant forest and a dungeon scene. Gramophone’s expert reviews easier than ever before.

As such, it perfectly encapsulates the contemporary Pier Jacopo Martello’s tongue-in-cheek satire of opera of the day, which argued that opera, in order to be entertaining, should avoid following Aristotelian rules of drama and instead feature favored scenic conventions, such as prison and sleep scenes.

As it vivvaldi out, everything went smoothly. The true Tamese, meanwhile, is disguised as the palace gardener, and both Arsilda and Lisea have an unexplained attraction to him. Moreover, its story hinges on concealed identities.


Le Bal des Animaux: Edward Elgar’s Sea Pictures are extremely well-known, but many others are also worth hearing.

Lucia Sciannimanico and Joseph Cornwell stand out in a uniformly good cast. Thanks to the efforts of Sardelli and Modo Antiquo, scholars, Vivaldi fans, and opera lovers in general now have an additional example of Vivaldi’s early operatic style.

Vivaldi: Arsilda, Regina Di Ponto | Palace of Versailles

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Copyist Johann Georg Pisendel The playing is light and airy and the speeds are well judged. Creative Commons Attribution 3. Javascript is required for this feature. Proof that new work, like good wine, needs to settle and mature to reveal its riches.

The story is complex and wholly unbelievable. PDF typeset by Unknown Ram. Send a link to this article to a friend with an optional message. While at times the sound quality of the recording could be more focused, with low frequencies at times overwhelming the vocal lines and occasionally making comprehension of the text difficult, the recording overall gives wonderful insight into Vivaldi’s characterizations and skill at both instrumental and vocal writing. Barzane is betrothed to Lisea. The translation of the libretto and notes stand up, ar.

Hence, the edition is public domain in its country of origin or a government publication. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams. But a number of operas-some familiar, others forgotten-are neither of these. Please obey the copyright laws of your country. The all-time greats Read about the artists who changed the world of classical music.