Vivaldi: Laudate pueri, RV600

“Both [Flores and de la Rosa] have an agility and purity of tone that make them ideal Baroque stylists...Les Agrémens plays with strong attack and crisp ensemble. As its lithe and precise singing on this recording shows, the Choeur de Chambre de Namur is one of the most accomplished mixed-voice choirs specializing in Early Music.” International Record Review, July 2011

“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

“Tracy Smith Bessette is a glorious soprano in the infectiously exultant Canta in prato, 'Sing in the meadow, laugh on the hill'. Her fluent passage-work is a particular delight, enhanced by exciting ornaments stretching her to Baroque-pitch top D - albeit a mere C sharp in today's money! Marion Newman's is a more restrained voice... Her approach suits perfectly the dolorous mood of the Stabat Mater, where... Naxos... patronage has revealed the excellent Toronto-based Aradia Ensemble and Kevin Mallon, their director. Their accompaniment here is rhythmically well-sprung and thoughtfully but discreetly phrased. A delightful disc.” BBC Music Magazine, August 2006 *****

“The period-instrument Aradia Ensemble under the expert direction of Kevin Mallon are building an excellent reputation for themselves in the early music field…. Mallon’s Toronto-based ensemble sound on their best form providing beautiful smooth playing, that is fresh, bright and immediate. The liner notes from regular Naxos author Keith Anderson are of the highest quality.” MusicWeb International

“Mhairi Lawson’s pure soprano is reason enough for this disc to be a ‘Best Buy’. Add to that Adrian Chandler’s dazzling talents (he conducts from the violin) and you have a unique tribute to Vivaldi” – Classic fM Magazine Best of the Year 2005

“…Mhairi Lawson sings with secure intonation, expressive sensibility and pleasing warmth of colour. Chandler is the solo violinist in four strongly contrasted concertos… In two of them he is joined by organist Robert Howarth who, together with cellist Sarah McMahon... shares solo status. The lively, enthusiastic and stylish playing, caught in dryish sound, is infectious and deserves to win friends.” BBC Music Magazine, May 2005 ****