Vivaldi: Gloria, RV588

“Both versions of this evergreen vocal masterpiece are stylish and deeply felt. Common to both is the affecting singing of contralto Sara Mingardo; her 'Domine Deus Agnus Dei' is poignantly declaimed.” BBC Music Magazine, Christmas 2009 ****

“Rinaldo Alessandrini's 1997 recording of Vivaldi's most famous Gloria, RV589 (6/98) was wildly acclaimed in some quarters… This new performance… still sets off at a brisker pace than most but it is no longer wilfully madcap: the articulate playing of Concerto Italiano permits enough room for the details to emerge, and Alessandrini nowadays seems to have enough confidence in his musicians (and in Vivaldi) to let the muscular expression of rhythms function without impatient snapping at the musical fabric. Another notable improvement from 1997 in his plangent choir. "Laudamus te" crackles with energy... Concerto Italiano also delivers a zesty performance of Vivaldi's less famous Gloria setting (RV588). ...Mingardo is at her best in the heartfelt "Qui sedes", and Alessandrini's spirited direction is irresistible.” Gramophone Magazine, February 2010

“...the performance is an even and expressive one – it runs at a cracking pace, too – and worth listening to alone for solos by Sara Mingardo, whose rich yet light voice is perfect for this music...a performance that celebrates the rich drama and excitement of Vivaldi while maintaining a lightness of touch throughout.” Katie Greening, bbc.co.uk, 22nd October 2009

“enchantingly played” (Gramophone)

Penguin Guide 3 star

One of the most rewarding discs in this splendid series to date
International Record Review

“Volume 6 of this series was a Gramophone Award nominee in 2001 and this one is just as good: it contains some very fine and largely unfamiliar music, in splendid performances. The principal work is the 'other' Gloria – RV588, not the popular 589, which, however, by no means outshines it. This setting, in fact, begins particularly fascinatingly, as the choral climax to a short, introductory solo motet Jubilate, o amoeni chori; the motet elides, as it were, into the choral Gloria in an attractive and lively movement. Then follows a poetic, choral 'Et in terra pax', rich in texture and especially in harmony, and several further movements scarcely less appealing than their counterparts in RV589.
The disc starts a shade unpromisingly, with what seems rather a routine Laetatus sum, in solid block choral writing against orchestral figuration.
But the Laudate pueri is quite another matter, a highly demanding solo motet which Carolyn Sampson sings with great precision and brilliance – Vivaldi often writes for the solo voice as if it has the agility of a violin, but this clearly doesn't disturb her. There's a lot of original and imaginative writing here.
The short motet Vestro principi divino was probably written for a weak contralto, in which case the use of Nathalie Stutzmann is an inspired piece of miscasting: she sings this entertaining piece with great power and accuracy, and goes on to do the motet introducing the Gloria in virtuoso fashion.
The other soloists, Susan Gritton and Charles Daniels, have less to sing but do it with no less distinction. And Robert King directs his choir and orchestra with sensitive feeling for tempo, nuance and style. One could hardly ask for more.” Gramophone Classical Music Guide, 2010

“[Mingardo's] dark contralto is among the set's vocal highlights...a bounty of fabulous music at bargain prices.” Classical Music, 2nd June 2012 *****