Vivaldi: L'Olimpiade RV725

Naive: OP30316

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Vivaldi: L'Olimpiade RV725

Awards:

Building a Library

First Choice - April 2012

Label:

Naive

Catalogue No:

OP30316

Discs:

3

Release date:

9th Nov 2002

Barcode:

0709861303168

Length:

2 hours 54 minutes

Medium:

CD (download also available)
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Vivaldi: L'Olimpiade RV725


Marianna Kulikova (mezzo-soprano), Sara Mingardo (contralto), Laura Giordano (soprano), Riccardo Novaro (baritone), Sergio Foresti (bass)

Concerto Italiano, Rinaldo Alessandrini

CD - 3 discs

$25.00

(also available to download from $20.00)

In stock - usually despatched within 1 working day.

Antonio Vivaldi: L'Olimpiade, RV 725

playSinfonia: Allegro

playSinfonia: Andante

playSinfonia: Allegro

playAct I Scene 1: Ho risoluto, Aminta (Licida, Aminta)

playAct I Scene 2: Megacle e tecco (Megacle, Licida)

playAct I Scene 2: Superbo di me stesso (Megacle)

playAct I Scene 3: Oh generoso amico! (Licida, Aminta)

playAct I Scene 3: Quel destrier, che allabergo e vicino (Licida)

playAct I Scene 3: Pria dell'esito ancor lieto si finge (Aminta)

playAct I Scene 3: Il fidarsi della speme (Aminta)

playAct I Scene 4: Oh care selve, oh cara felice liberta! (Chorus, Argene)

playAct I Scene 4: Ecco Aristea (Argene, Aristea)

playAct I Scene 5: Figlia, tutto e compito (Clistene, Aristea, Argene)

playAct I Scene 5: Del destin non vi lagnate (Clistene)

playAct I Scene 6: Udisti, o principesa? (Argene, Aristea)

playAct I Scene 6: E troppo spietato (Aristea)

playAct I Scene 7: Dunque Licida ingrato (Argene)

playAct I Scene 7: Piu non si trovano (Argene)

playAct I Scene 8: Licida (Megacle, Licida)

playAct I Scene 8: E ben, riposa: addio (Licida)

playAct I Scene 9: Che intesi, eterni dei! (Megacle)

playAct I Scene 10: Stranier (Aristea, Megacle, Alcandro)

playAct I Scene 10: Ne' giornitui fellici ricordati di me (Megacle, Aristea)

playAct II Scene 1: Ed ancor della pugna l'esito non si sa? (Argene, Aristea)

playAct II Scene 2: Fortunate novelle (Alcandro, Argene, Aristea)

playAct II Scene 2: Se tu sprezzar pretendi (Alcandro)

playAct II Scene 3: Ah, dimmi, o principessa (Argene, Aristea)

playAct II Scene 3: E tu non senti (Aristea)

playAct II Scene 4: E trovar non pos'io (Argene, Aminta)

playAct II Scene 4: Per que' tanti suoi sospiri (Argene)

playAct II Scene 5: Fra lr follie diverse (Aminta)

playAct II Scene 5: Siam navi all'onde algenti (Aminta)

playAct II Scene 6: Giovane valaroso (Clistene, Alcandro, Megacle, Licida)

playAct II Scene 7: All'odiose noze come vitima io vengo all'ara avanti (Aristea, Licida, Clistene, Megacle, Alcandro)

playAct II Scene 7: Qual serpe tortuosa (Clistene)

playAct II Scene 8: Fra l'amico e l'amante che faro sventurato (Megacle, Licida)

playAct II Scene 9: Oh ricordi crudeli! (Megacle, Aristea)

playAct II Scene 9: Misero me, che veggo! (Megacle)

playAct II Scene 10: Intese tutto Aristea? (Licida, Megacle)

playAct II Scene 10: Se cerca, se dice (Megacle)

playAct II Scene 11: Che laberinto e questo! (Licida, Arestea)

playAct II Scene 11: Tu da me dividi (Aristea)

playAct II Scene 12: A me barbaro! Oh numi! (Licida, Argene)

playAct II Scene 13: In angustia piu fiera (Licida, Aminta)

playAct II Scene 14: Dove son! (Licida, Alcandro)

playAct II Scene 15: Con questo ferro indegno (Licida)

playAct II Scene 15: Gemo in un punto e fremo (Licida)

playAct III Scene 1: Lasciami (Megacle, Aminta, Aristea, Argene)

playAct III Scene 2: Oh sacrilego! (Alcandro, Aristea, Aminta, Argene)

playAct III Scene 2: Alle richieste nulla risponde (Alcandro)

playAct III Scene 2: Piu resister non posso (Megacle, Aristea)

playAct III Scene 2: Caro, son tua cosi (Aristea)

playAct III Scene 3: Deh secondate, o nomi (Megacle, Argene)

playAct III Scene 3: Lo seguitai felice (Megacle)

playAct III Scene 4: E pure, amio dispetto (Argene, Aminta)

playAct III Scene 4: Per salvar quell'alma ingrata (Argene)

playAct III Scene 5: Fuggi, savati Aminta (Aminta)

playAct III Scene 5: Son qual per mare ignoto (Aminta)

playAct III Scene 6: Giovane sventurato, ecco vicino (Clistene, Licida, Alcandro)

playAct III Scene 6: Non so donde viene (Clistene)

playAct III Scene 7: O delle gioie mie (Licida, Megacle, Alcandro)

playAct III Scene 7: I tuoi strali terror de'mortali (Chorus)

playAct III Scene 7: O degli uomini padre (Clistene)

playAct III Scene 8: Fermati, o re (Argene, Clistene, Megacle, Licida)

playAct III Scene 9: Credimi, o padre (Aristea, Clistene, Argene, Alcandro, Licida)

playAct III Scene 10: Ah, Licida (Aminta, Clistene, Alcandro, Aristea, Licida, Megacle)

playAct III Scene 10: Viva il figlio delinquente (Chorus)

Gramophone Classical Music Guide

2010

“More than 50 composers set Pietro Metastasio's libretto L'Olimpiade between 1733 and 1815, starting with Caldara and including along the way such names as Pergolesi, Galuppi, Cimarosa, Cherubini and Paisiello. The booklet note for this new recording suggests that Vivaldi was trying to take on the newly fashionable Neapolitan composers at their own game, not only by setting a poem by their favourite librettist, but also by adopting some of their musical mannerisms.
Maybe so, but there can be few composers with a more deeply ingrained personal style than our friend the Red Priest, and it's an unmistakably Vivaldian flavour which is the strongest in this thoroughly agreeable work.
Despite the public context – the story is played out against the backdrop of the Olympic Games – this is a drama which focuses on the personal predicaments of the principal characters, each of whom faces an interesting conflict between head and heart somewhere along the line. This is more apparent from Metastasio's words than from Vivaldi's music, to be honest, but that isn't to say that the composer has been unresponsive.
The most effective and intimate moments occur in the recitatives, which are fluidly conversational and full of realistic interruptions, questions and exclamations, all of which Vivaldi handles with considerable dramatic skill.
Rinaldo Alessandrini's direction is typically unfussy and to the point, ever alert to the music's dramatic intent but without imposing himself on it unduly. The finest vocal performances come from Sara Mingardo, Roberta Invernizzi and Sonia Prina, but in truth no one is a weak link. The recitatives are effectively done, the arias thrown off with dash and aplomb, and everyone sounds as if they believe in the work.”

bbc.co.uk

Andrew McGregor

6th January 2003

“there's some beautiful music here, and fine performances...Alessandrini only relaxes his grip on the score to allow the most beautiful passages breathing space, and the playing is brilliant.”

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