Atenaide / Piau, Agnew, Laurens, Stutzmann, Genaux, Basso, Ferrari, Modo Antiquo, Sardelli (Vivaldi Edition)

Atenaide / Piau, Agnew, Laurens, Stutzmann, Genaux, Basso, Ferrari, Modo Antiquo, Sardelli (Vivaldi Edition)

Atenaide / Piau, Agnew, Laurens, Stutzmann, Genaux, Basso, Ferrari, Modo Antiquo, Sardelli (Vivaldi Edition)
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Music CD Cover

Composer: Antonio Vivaldi
Conductor: Federico Maria Sardelli
Orchestra: Modo Antiquo
Performer: Sandrine Piau
Performer: Vivica Genaux
Performer: Guillemette Laurens
Performer: Romina Basso
Performer: Nathalie Stutzmann
Performer: Paul Agnew
Performer: Franco Ferrari
Edition: Music CD
CD Release Date: 2007-10-30
Music Label: Na?ve
Soundtracks:
Music CD 1
  1. Allegro
  2. Andante
  3. Allegro
  4. Scena 1 Recitativo
  5. Scena 1 Aria Ti Stringo In Quest'amplesso
  6. Scena 2 Recitativo
  7. Scena 2 Aria Della Rubella
  8. Scena 3 Recitativo
  9. Scena 4 Recitativo
  10. Scena 4 Aria La Sul Margine Del Rio
  11. Scena 5 Recitativo
  12. Scena 5 Aria Al Valore Che Prode Ti Preggi
  13. Scena 6 Recitativo
  14. Scena 6 Aria Imeneo Piu Chiare
  15. Scena 7 Recitativo
  16. Scena 7 Aria Trovo Ne'gli Occhi Tuoi
  17. Scena 8 Aria Reggia Amica, A Te Vicino
  18. Scena 8 Recitativo
  19. Scena 9 Recitativo
  20. Scena 10 Recitativo
  21. Scena 10 Aria Mal S'accende Di Sdegno Il Tuo Core
  22. Scena 11 Recitativo
  23. Scena 11 Tanto Lieto Ho Il Core
  24. Scena 12 Recitativo
  25. Scena 12 Aria Di Novi Allori Adorno
  26. Scena 13 Recitativo
  27. Scena 13 Aria Qual La Sua Colpa Sia
Music CD 2
  1. Scena 14 Recitativo
  2. Scena 14 Aria Quanto Posso A' Me Fo Schermo
  3. Scena 1 Recitativo
  4. Scena 2 Recitativo
  5. Scena 2 Aria Nel Profondo Cieco Mondo
  6. Scena 3 Recitativo
  7. Scena 3 Aria Son Colpevole A' Tuoi Lumi
  8. Scena 4 Recitativo
  9. Scena 5 Recitativo
  10. Scena 6 Recitativo
  11. Scena 6 Aria Vorresti, Il So
  12. Scena 7 Recitativo
  13. Scena 7 Aria Sorge L'irato Nembo
  14. Scena 8 Recitativo
  15. Scena 8 Aria Bel Piacer Di Fido Core
  16. Scena 9 Recitativo
  17. Scena 9 Aria Se Cieco Affetto
  18. Scena 10 Recitativo
  19. Scena 11 Recitativo
  20. Scena 11 Aria Al Tribunal D'amore
  21. Scena 12 Recitativo
  22. Scena 12 Aria Il Mio Amore Diventa Furore
  23. Scena 13 Recitativo
  24. Scena 13 Aria Vado A Recar Contenti
  25. Scena 14 Recitativo
  26. Scena 14 Aria Eccelso Trono
Music CD 3
  1. Scena 1 Recitativo Accompagnato
  2. Scena 1 Aria Alme Perfide Insegnatemi
  3. Scena 2 Recitativo
  4. Scena 3 Recitativo
  5. Scena 3 Aria Parto, Che So Qual Sia
  6. Scena 4 Recitativo
  7. Scena 5 Recitativo
  8. Scena 5 Aria Piu Non Vuo Mirar Quel Volto
  9. Scena 6 Recitativo
  10. Scena 7 Recitativo
  11. Scena 7 Recitativo Accompagnato Qual Demone, Qual Furia
  12. Scena 7 Aria In Bosco Romito
  13. Scena 8 Aria Cor Mio Che Prigion Sei
  14. Scena 8 Recitativo
  15. Scena 9 Recitativo
  16. Scena 10 Recitativo
  17. Scena 10 Aria Mesto Va L'agricoltore
  18. Scena 11 Recitativo
  19. Scena 11 Aria Infausta Reggia Addio
  20. Scena 11 Recitativo
  21. Scena 12 Recitativo
  22. Scena 13 Recitativo
  23. Scena 14 Recitativo
  24. Scena 14 Aria M'accende Amore L're Guerriere In Petto
  25. Scena 15 Recitativo
  26. Scena 15 Aria Te Solo Penso Ed Amo
  27. Scena 16 Recitativo
  28. Scena 17 Recitativo
  29. Scena 18 Recitativo
  30. Scena 19 Recitativo
  31. Scena 19 Aria Si Son Tua Padre Amoroso
  32. Scena 19 Recitativo
  33. Scena 20 Recitativo
  34. Scena Ultima Recitativo
  35. Scena Ultima Coro Bel Goder Quando Si Gode

Free Music Notes for Atenaide / Piau, Agnew, Laurens, Stutzmann, Genaux, Basso, Ferrari, Modo Antiquo, Sardelli (Vivaldi Edition)

Free Music Review: Another gem in the Naive series
Hit: 5 Stars

Based on a libretto by Apostolo Zeno, and first performed in Florence in 1728, Vivaldi's Atenaide is a remarkably satisfying piece. Many of the arias were originally written for Orlando furioso, the opera completed immediately before this one, but they work wonderfully in this context. There are, however, no ensembles or even duets in this work. As usual the score is full of opportunities for low-voiced women, so loved by Vivaldi.

The singers in this production all acquit themselves ably. Sandrine Piau is Atenaide, and is the only soprano in this production. The mezzo Vivica Genaux is billed in the liner notes as a soprano, but sings in the high mezzo-soprano range as the Emperor Teodosio. Genaux's singing is as thrilling as ever and her phrasing and control are exquisite. The low mezzo-soprano Romina Basso is also perfect as the dastardly Varane, rival for Atenaide. There are one or two moments where she lacks the bottom range for this part, but her rendition of her first-act aria Tanto lieto ho il core in petto, an aria taken from Orlando furioso, is much better than Marie Nicole Lemieux's performance of it in the recording of that opera. The tenors Paul Agnew and Steffano Ferrari also aquit themselves nicely, Agnew as the slightly ineffectual Leontino, father of Atenaide, and Ferrari as the emperor's attendant Probo.

The two stars of this recording are, for me, the French singers Nathalie Stutzmann and Guillemette Laurens. Laurens is the emperor's sister Pulcheria, a manipulative woman determined to scuttle her brother's pursuit of Atenaide. Vivaldi provided this character with arias that signal her unsettled and manipulative nature perfectly, and Laurens performs them wonderfully, fully committing to the role. Her aria, La sul margine del rio, has a lovely if somewhat inane melody, but the ornamentation that Vivaldi supplied (echoed in the strings) transforms it into a hugely difficult piece that Laurens performs with grace and charm. This aria is one of the highlights of the work for me, although all of Pulcheria's arias provide the singer with a challenge.

Nathalie Stutzmann plays the role of Marziano, a Byzantine general who is in love with Pulcheria but cannot hope to be her suitor because of his lower social standing. Marziano has only 4 arias--2 in the first act, and one in the second and the third act--but they are all amazing. The second aria in the first act is a recycled aria from Orlando furioso. In that work it was sung very nicely by the mezzo-soprano Blandine Staskiewicz, but Stutzmann brings a weight to the piece with her considerably lower alto, that makes the octave displacements and fast runs called for by Vivaldi even more spectacular. Her absolute control and ability to deliver the apparently impossible is part of Stutzmann's appeal here, although at times her vibrato is a little wide. Marziano's aria in the third act is devastating in its sadness--he finally admits to himself that his love for Pulcheria is hopeless--and here Stutzmann shines, fully committing to the drama of this piece in her almost sobbing delivery that is perfection.

All in all, this recording is a wonderful addition to the Naive series. I ordered my copy from France because I didn't want to wait for the U.S. release date, and it has been in constant rotation in my stereo in the last month. It is among my favorites in this series, as well as La Verita in Cimento and L'Olimpiade.
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