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Antonio Vivaldi: L'Olimpiade, RV 725
Sinfonia: Allegro
Sinfonia: Andante
Sinfonia: Allegro
Act I Scene 1: Ho risoluto, Aminta (Licida, Aminta)
Act I Scene 2: Megacle e tecco (Megacle, Licida)
Act I Scene 2: Superbo di me stesso (Megacle)
Act I Scene 3: Oh generoso amico! (Licida, Aminta)
Act I Scene 3: Quel destrier, che allabergo e vicino (Licida)
Act I Scene 3: Pria dell'esito ancor lieto si finge (Aminta)
Act I Scene 3: Il fidarsi della speme (Aminta)
Act I Scene 4: Oh care selve, oh cara felice liberta! (Chorus, Argene)
Act I Scene 4: Ecco Aristea (Argene, Aristea)
Act I Scene 5: Figlia, tutto e compito (Clistene, Aristea, Argene)
Act I Scene 5: Del destin non vi lagnate (Clistene)
Act I Scene 6: Udisti, o principesa? (Argene, Aristea)
Act I Scene 6: E troppo spietato (Aristea)
Act I Scene 7: Dunque Licida ingrato (Argene)
Act I Scene 7: Piu non si trovano (Argene)
Act I Scene 8: Licida (Megacle, Licida)
Act I Scene 8: E ben, riposa: addio (Licida)
Act I Scene 9: Che intesi, eterni dei! (Megacle)
Act I Scene 10: Stranier (Aristea, Megacle, Alcandro)
Act I Scene 10: Ne' giornitui fellici ricordati di me (Megacle, Aristea)
Act II Scene 1: Ed ancor della pugna l'esito non si sa? (Argene, Aristea)
Act II Scene 2: Fortunate novelle (Alcandro, Argene, Aristea)
Act II Scene 2: Se tu sprezzar pretendi (Alcandro)
Act II Scene 3: Ah, dimmi, o principessa (Argene, Aristea)
Act II Scene 3: E tu non senti (Aristea)
Act II Scene 4: E trovar non pos'io (Argene, Aminta)
Act II Scene 4: Per que' tanti suoi sospiri (Argene)
Act II Scene 5: Fra lr follie diverse (Aminta)
Act II Scene 5: Siam navi all'onde algenti (Aminta)
Act II Scene 6: Giovane valaroso (Clistene, Alcandro, Megacle, Licida)
Act II Scene 7: All'odiose noze come vitima io vengo all'ara avanti (Aristea, Licida, Clistene, Megacle, Alcandro)
Act II Scene 7: Qual serpe tortuosa (Clistene)
Act II Scene 8: Fra l'amico e l'amante che faro sventurato (Megacle, Licida)
Act II Scene 9: Oh ricordi crudeli! (Megacle, Aristea)
Act II Scene 9: Misero me, che veggo! (Megacle)
Act II Scene 10: Intese tutto Aristea? (Licida, Megacle)
Act II Scene 10: Se cerca, se dice (Megacle)
Act II Scene 11: Che laberinto e questo! (Licida, Arestea)
Act II Scene 11: Tu da me dividi (Aristea)
Act II Scene 12: A me barbaro! Oh numi! (Licida, Argene)
Act II Scene 13: In angustia piu fiera (Licida, Aminta)
Act II Scene 14: Dove son! (Licida, Alcandro)
Act II Scene 15: Con questo ferro indegno (Licida)
Act II Scene 15: Gemo in un punto e fremo (Licida)
Act III Scene 1: Lasciami (Megacle, Aminta, Aristea, Argene)
Act III Scene 2: Oh sacrilego! (Alcandro, Aristea, Aminta, Argene)
Act III Scene 2: Alle richieste nulla risponde (Alcandro)
Act III Scene 2: Piu resister non posso (Megacle, Aristea)
Act III Scene 2: Caro, son tua cosi (Aristea)
Act III Scene 3: Deh secondate, o nomi (Megacle, Argene)
Act III Scene 3: Lo seguitai felice (Megacle)
Act III Scene 4: E pure, amio dispetto (Argene, Aminta)
Act III Scene 4: Per salvar quell'alma ingrata (Argene)
Act III Scene 5: Fuggi, savati Aminta (Aminta)
Act III Scene 5: Son qual per mare ignoto (Aminta)
Act III Scene 6: Giovane sventurato, ecco vicino (Clistene, Licida, Alcandro)
Act III Scene 6: Non so donde viene (Clistene)
Act III Scene 7: O delle gioie mie (Licida, Megacle, Alcandro)
Act III Scene 7: I tuoi strali terror de'mortali (Chorus)
Act III Scene 7: O degli uomini padre (Clistene)
Act III Scene 8: Fermati, o re (Argene, Clistene, Megacle, Licida)
Act III Scene 9: Credimi, o padre (Aristea, Clistene, Argene, Alcandro, Licida)
Act III Scene 10: Ah, Licida (Aminta, Clistene, Alcandro, Aristea, Licida, Megacle)
Act III Scene 10: Viva il figlio delinquente (Chorus)
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.”
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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Sinfonia: Allegro
