Vivaldi: Cantata RV684 'Cessate, omai cessate' for alto & strings

“Here's a very attractively prepared menu whose main course is the Stabatmater for countertenor and strings.
Hors-d'oeuvres and side-dishes consist of a ripieno concerto (RV114), a chamber cantata for countertenor and strings (RV684), a string sonata in E flat (RV130) and an introductory motet to a lost Miserere (RV638). Taken together, the pieces demonstrate something of Vivaldi's diverse style as a composer.
The chamber cantata, if closely related to the two sacred vocal items on the disc in respect of tonal colour, differs from them in character.
Conforming with the standard Italian cantata pattern at the time of two pairs of alternating recitative and da capo aria Vivaldi enlivens his pastoral idyll with two particularly affecting arias, the first with a palpitating pizzicato violin, the second a virtuoso vocal tour de force illustrating the plight of the forsaken lover. Andreas Scholl brings the whole thing off superbly with only a moment's faulty intonation at the close of the first aria. Unlike settings of the Stabat mater by Pergolesi and others, Vivaldi used only the first 10 of the 20 stanzas of the poem. His deeply expressive setting of the poem will be familiar to many readers, but few will have heard such an affecting performance as Scholl achieves here.
The lyrical prayer of human yearning for faith contained in the 'Fac ut ardeat' movement is tenderly sung and here, as throughout the programme, sympathetically supported by Ensemble 415 under Chiara Banchini's experienced direction.” Gramophone Classical Music Guide, 2010