Vivaldi: Salve Regina, RV 616

“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

“Carlos Mena warmly communicates the spiritual piety of the poem and Philippe Pierlot thoughtfully directs a touching performance.” Gramophone Magazine, October 2007

“This is a radiant, joyful piece of virtuoso writing for the voice. With its many subtle contrasts and vivid word-painting, it seems to me to sit comfortably atop the Vivaldi solo sacred music tree along with the Stabat Mater and Nisi Dominus. There are no weak links in this beautiful, often exhilarating piece and listeners will not, by and large, be disappointed by the performance. Dawson and Zádori are at an advantage, perhaps, in singing the music at a lower Baroque pitch, but even so Marshall hits her high notes – and there is no shortage of them – dependably and with panache.” Gramophone Magazine, April 1992

“These are not period-instrument performances and they are often given with quite large forces with a tendency to a certain sturdiness. Yet's there a drive and enthusiasm in Negri's conducting that is very winning, and he's helped by crisp choral singing...The real delight here is the music - Vivaldi at his most varied and inventive.” International Record Review, May 2011