Vivaldi: Magnificat RV610a (version for double choir)

“This isn't the 'Vivaldi Vespers', or even a reconstruction of a specific event, but a kind of 'sacred concert' in Vespers form, of the sort that Venetian churches in Vivaldi's time would mount in the name of worship.
Whether he ever supplied all the music for any such occasion isn't clear, but he certainly set plenty of Vespers texts, enough at any rate for Rinaldo Alessandrini and scholar Frédéric Delaméa to put together this rich programme.
So this is music for a Vespers for the Feast of the Assumption as it might have been heard in one of Venice's more important churches, made up of Vivaldi's settings of the five Vespers psalms, a Magnificat, a Salve Regina, a solo motet (Ascende in laeta) and a couple of orchestral concertos.
Unmistakably Vivaldian in almost every bar, these pieces nevertheless show considerable variety; the psalms range from the opulence of Dixit Dominus for five soloists, two choirs and two choirs, to the expressive solo settings of Laudate pueri and Nisi Dominus, to the breezily functional choral treatments of Laetatus sum and Lauda Jerusalem; Ascende in laeta is a virtuoso showpiece for soprano, and the Salve Regina a sombre vehicle for contralto. The liturgical thread is supplied by plainchant antiphons, prettily rendered in a fascinating conjectural imitation of the 18th century's 'corrupt' manner, which is to say, with organ accompaniment and unabashed ornamentation.
Alessandrini's reading has an energy which is both forthright and controlled. His solo singers are of high quality; Roberta Invernizzi and Sara Mingardo are from the front rank of Italian Baroque singers, capable of expressive lyricism and thrilling virtuosity, but Gemma Bertagnolli is no less effective. The orchestra plays with inspiriting precision and life, but the choir could be improved on, and is poorly favoured in the recorded balance. Indeed, the recorded sound as a whole is a bit noisy, in places suffering a distant mechanical whir. Still, the overall effect is what counts most in a recording like this: the music has a vital sense of direction, resulting in two and a half hours of invigorating listening.” Gramophone Classical Music Guide, 2010

“The impressive energy conveyed in the choral singing owes much to the set's guiding force, Maestro Alessandrini, whose leadership consistently results in vital, vibrant performances.” Classics Today

Gramophone Critic's Choice

“King's 'super-group' featuring choristers drawn from seven English cathedral and collegiate choirs sounds better than ever – technically reliable, with a good, full sound – and are a credit to King's vision in bringing them together. This volume has five typically uplifting works, three of which – Lauda Jerusalem, Dixit Dominus and the G minor Kyrie – offer the opulent sound of double choir and orchestra. Dixit Dominus is the most substantial, a colourful 23-minute sequence of varied solos and choruses, with trumpets, oboes and two organs all chipping in, most notably in an awe-inspiring depiction of the Day of Judgement. The other two are perhaps less striking, though Lauda Jerusalem is certainly charming in its two-soprano interchanges.
Highlights of the single-chorus works include another exquisite soprano duet and a fiery 'Fecit potentiam' in the Magnificat, and an extraordinary 'Crucifixus' in the Credo which departs from the pain-wracked norm by seemingly depicting with lugubrious slow tread Christ's walk to Calvary. King manages very well in capturing the essence of Vivaldi's bold, sometimes disarmingly straightforward style. These tidy performances are driven with just the right amount of springy energy – neither too much nor too little – and are well recorded in the warm resonance of St Jude's Church, Hampstead in London.” Gramophone Classical Music Guide, 2010