Ospedale della Pietà in Venice

Opernhaus Prag Antonio Vivaldi (1678-1741)

Complete Opera – Antonio Vivaldi – Complete Opera –

Index - Complete Operas by Antonio Vivaldi

Page Preface 3 Cantatas 1 RV687 Wedding Cantata 'Gloria e Imeneo' (Wedding cantata) 4 2 RV690 Serenata a 3 'Mio cor, povero cor' (My poor heart) 5 3 RV693 Serenata a 3 'La senna festegiante' 6 Operas 1 RV697 Argippo 7

2 RV699 Armida al campo d'Egitto 8

3 RV700 Arsilda, Regina di Ponto 9

4 RV702 Atenaide 10

5 RV703 Bajazet - Il Tamerlano 11

6 RV705 Catone in Utica 12

7 RV709 Dorilla in Tempe 13

8 RV710 Ercole sul Termodonte 14

9 RV711 Farnace 15

10 RV714 La fida ninfa 16

11 RV717 Il Giustino 17

12 RV718 Griselda 18

13 RV719 L'incoronazione di Dario 19

14 RV723 Motezuma 20

15 RV725 L'Olimpiade 21

16 RV726 L'oracolo in Messenia 22

17 RV727 Orlando finto pazzo 23

18 RV728 Orlando furioso 24

19 RV729 Ottone in Villa 25

20 RV731 Rosmira Fedele 26

21 RV734 La Silvia (incomplete) 27

22 RV736 Il Teuzzone 27

23 RV738 Tito Manlio 29

24 RV739 La verita in cimento 30

25 RV740 Il Tigrane (Fragment) 31

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Preface

In 17th century Italy is quite affected by the opera fever. The genus just newly created is celebrated everywhere. Not quite. For in Romee were allowed operas for decades heard exclusively in a closed society. The Papal State, who wanted to seem virtuous achieved at least outwardly like all these stories about love, lust, passions and all the ancient heroes and gods was morally rather questionable. And that women sing, was totally unthinkable at that time in Romee. "The Church's decadence", so at the time scoffed a Frenchman, "leaves the theater in women's roles only pretty young lads occur found for the diabolical tinker the secret of how to get their high-pitched voices. As a girl dressed, with her hips, the wide butt, the female breast, the round and plump neck can actually hold for girls. "But the male hero was usually sung by castrati; for tenors and basses rarely significant roles were written. This caused confusion in later centuries, because with the end of the grisly castration of course the sopranos and altos disappeared fRome the stage; the heroic roles were now sung by women, which sometimes seems pretty weird, or transposed for "real" men's voices, which also brings some problems.

Vivaldi's pieces are among the most famous works of the "Baroque music". The composer and grandiose violinist has impressed with his works an audience of millions across generations.

There is still a prejudice in many heads that the prolific Venetian baroque composer Antonio Vivaldi was only moderately talented, whose only brilliant composition is "The Four Seasons". Yet he was one of the most charismatic artistic personalities of the 18th century and a brilliant musical dramatist who left a hitherto largely undiscovered treasure trove of operas. Vivaldi wrote ravishingly virtuoso arias, worked effectively with contrasting orchestration and, moreover, had a metropolitan Venetian sense of irony and subliminal social criticism. In his opera La verità in cimento,which has scarcely ever been performed on stage, all these qualities come into their own.

Vivaldi claimed to have composed 94 operas, but fewer than 49 titles have been identified. In the autograph scores 22 works have survived, of which 16 are fully in Vivaldi's own handwriting. Most of them are now kept in the National Library of Turin, where a total of about 450 music manuscripts by Vivaldi works are almost all musical genres. All of Vivaldi's operatic works are described as dramma per musica, roughly equivalent to opera seria.

Stylistically it is in Vivaldi's operas to baroque operas number of Italian style, ie with largely clear separation of recitative and da capo aria. The instrumentation ranges in Vivaldi's operas fRome simple string ensemble with continuo to be extensive with brass (flutes, oboes, bassoons, trumpets, horns, tRomebones) and timpani enriched ensembles. The continuo is today based on historical models usually richly decorated with cello, harpsichord, lute, baroque guitar, theorbo, harp, etc., where appropriate, with violone (double bass) or bassoon. In an opera by Vivaldi, there is also a dulcimer. Often the solo violin is used (Vivaldi himself was a violinist and directed the performances of his instrument.)

In pasticcio opera, a libretto is set using existing musical numbers - sometimes all by one composer, and sometimes by several - creating a new work while exploiting proven materials. Pasticcios was commonly used in Baroque music, to integrate already successful music again.

Several Baroque ensembles have started in the last few years trying to reconstruct the in many archives of opera houses sighted fragments of Vivaldi's operas and perform it. Since this work has only just begun, yet more operas by Vivaldi will certainly reconstructed and performed.

Most of today performable Vivaldi's operas are reconstructions, because frequently although the librettos are available, but only fragments of the scores were found. During the reconstruction, care is taken to preserve the context of the plot, most parts of the original libretto are omitted because the accompanying music is missing.

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Cantatas

Vivaldi was inducted early into the world of the serenata. His first such composition, written in 1708 as an encomium for a Venetian official in Rovigo who had concluded his term of office, predates his earliest opera by five years. Altogether, we know of eight serenatas fRome his pen, and this probably understates their true number. Oddly, three of them survive in score and three more as published librettos that name Vivaldi as the composer – but in no cases do we possess both the music and the libretto.

The two works in the present recording belong to a group of at least three serenatas with a French connection that the composer wrote in the 1720s.

Wedding Cantata 'La Gloria e Imeneo' (Wedding cantata) – RV 687

Serenada in 2 Parts for Soprano and Basso Continuo Original language: Italian

Playing time ca. 1 hour Premiere: August, 15 1725, Strasbourg

Libretto by unknown

Cast Recording

The King's Consort-Robert King Tuva Semmingsen - Mezzo Soprano (Imeneo), Hilary Summers - Alto (Gloria) Recorded 2002

Roles: • Gloria (Alto) – The splendor, as an attribute of the French monarch • Imeneo (Mezzo Soprano) - Hymen, the Wedding-God

Synopsis:

In 1723, after a fourteen-year break in diplomatic relations, the French monarchy posted to Venice a new ambassador, Jacques-Vincent Languet, Count of Gergy. Languet managed to reoccupy the traditional Palais de France, situated on the Fondamenta della Madonna dell’Orto and facing out across the lagoon to the mainland. As a matter of course, he celebrated there every year the feast of St Louis on 25 August, thereby honouring not only the patron saint of his country but also its monarch.

Vivaldi may have made contact with Languet earlier, but the first commission of which we have certain knowledge is that for the wedding serenata, RV687, written to commemorate the nuptials of Louis XV and the Polish princess Maria Leszczyska and performed in the evening of 12 September 1725 in a loggia (still standing) at the end of the ambassador’s garden. At very short notice, Languet organised a magnificent festa, which was minutely reported not only in a handwritten account in Italian for circulation among the ambassador’s friends but also in the Mercure de France for October 1725, where we read: ‘After the ball there was a serenata, whose words, suited to the subject [of the festivities], were much praised, and the music was by Signor Vivaldi, who is the best composer in Venice’.

The two characters in this serenata are Imeneo (Hymen, the god of marriage) and La Gloria (Glory, the attribute of the French monarch). There is really no ‘plot’: the two characters simply vie with one another in heaping enconiums on the young couple. La Gloria leads off by descending to earth and inviting Louis to welcome his Polish bride in a pompous aria (‘Alle amene franche arene’) thematically related to one in Vivaldi’s recent opera Giustino (1724) and to the first movement of his concerto for two horns RV538. Imeneo then invites the princess to share the marriage bed and reminds her of the duties of a good wife in a strangely restless aria in C minor (‘Tenero fanciulletto’). The wedding congratulations continue in strict rotation until the two cheerleaders join forces in a lively duet, ‘Vedrò sempre la pace’. Two further arias (prepared, as always, by recitatives) arrive, and we at last reach the climax of the serenata: the final recitative. By tradition, this is the point at which the joyful occasion is summed up – the anonymous poet even manages to squeeze in a tribute to Languet himself for hosting the festa – and its ‘message’ is delivered in definitive form. This celebration, sings La Gloria, will remain indelibly etched in human memory. It remains only for the couple to sing a final duet, ‘In braccio de’ contenti’, which is another borrowing from Rome Giustino.

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Serenata a 3 'Mio cor, povero cor' (My poor heart) – RV 690 alias 'La Ninfa e il Pastore' (Die Nymphe und der Hirte / The Nymph and the Shepherd), alias ‘Eurilla e Alcino’

Serenada in 2 Parts for Soprano and Basso Continuo Original language: Italian

Playing time ca. 1,5 hours Premiere: September 1725, Venice, Embassy garden

Libretto by unknown

Cast Recording

Clemencic Consort & Ensemble Vocal La Capella - René Clemencic, Petya Grigorova (Eurilla) - Soprano, Marjorie Vance (Nice) - Soprano, Kurt Spanier (Alcindo) - Tenor Recorded 2003

Roles: • Eurilla (Soprano) – Nymphe / Nymph • Nice (Mezzo Soprano) • Alcindo (Tenor) – Hirte / Shepherd

Synopsis:

The most enigmatic aspect of Vivaldi's vocal music is undoubtedly that of his serenatas. Despite much research carried out over the last twenty years, musicologists and historians have stili not yet managed to dispel the many biographical uncertainties raised by the composer's interest in this rather hybrid musical form, a cross between an extended cantata and a miniature opera. During Vivaldi's lifetime, the serenata in Italy had acquired a status and a form that were fairly clearly defined. It was essentially composed for a private occasion, designed to celebrate, using allegory, an event having some political or social importance, and constituting the musical high point of the festivities in which it was included. A serenata was usually one of the events in a day that began with a religious service, continued with banquets and processions, and ended al sereno (i.e. at nightfall) with a specially-devised musical entertainment.

The nymph Eurilla attempts to win the love of the prideful shepherd, Alcindo. There is certainly a moral to this story, as pride, stubbornness and harshness are condemned in the end. The occasion for which Vivaldi wrote Eurilla e Alcindo is uncertain, though the purpose was supposedly to commemorate the imprisonment of a certain religious leader whose sect refused to bow to papal authority. The shepherd, Alcindo's stubbornness and refusal to love the nymph Eurilla, possibly symbolizes this sect's refusal to submit.

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Serenata a 3 'La senna festeggiante' – RV 693 (The River Seine Rejoicing)

Serenada in 2 Parts Original language: Italian

Playing time ca. 1 1/4 hours Premiere: 1730, Prague, Theatre Count Franz Anton von Sporck

Libretto by Domenico Lalli

Cast Recording

Concerto Italiano - Rinaldo Alessandrini, Juanita Lascarro - Soprano, Sonia Prina - Alto, Nicola Ulivieri - Basso Recorded 2001

Roles:

• L’Età dell’Oro (Soprano) - Das Goldene Zeitalter / Golden Age • La Virtù (Alto) - Die Tugend / The Virtus • La Senna (Bass) - Die Seine / The Seina • Coro (Soprano, Alto, Bass, Tenor)

Synopsis:

River Seina welcomes The Virtue and The Golden Age on its bank. Those two are coming to king coronation to Versailles and all three personages then celebrate king's character – his mercy, righteousness and religiousness.

The present serenata has three allegorical characters: L’Età dell’Oro (The Golden Age), La Virtù (Virtue) and La Senna (The Seine). Its very rudimentary plot, following a very common structural plan in serenatas, is conceived as a quest: the characters are introduced little by little to the identity and the flatteringly drawn personal traits of the recipient of the homage. In Part I, following a preliminary celebration by the nymphs of the Seine, first L’Età dell’Oro and then La Virtù arrive at the river’s banks, lamenting the sorry state of the world. La Senna offers them perpetual hospitality, and the three exchange compliments at length before the nymphs return to close the section – but not until the river god has drawn his visitors’ attention towards a flock of white swans that tell of even greater things. In Part II the banner of the French king is spotted, and the three make their way towards the royal palace, presumably Versailles. They sing his praises, comment on his regal appearance and offer him wishes for a glorious future.

Vivaldi chose (or had chosen for him) a soprano voice for L’Età dell’Oro and an alto voice for La Virtù. Either or both parts may originally have been intended for a castrato. La Senna is written for a bass voice of exceptional range and agility. Such voices are rare in Venetian operatic music of the period, and one suspects that the designated singer was a member of Ottoboni’s entourage brought for Rome Romee. Besides the usual strings and continuo instruments, Vivaldi includes in the orchestra a pair of oboes and a pair of recorders, perhaps in the knowledge of the promeinence of these wind instruments in the cardinal’s own orchestra.

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Operas

Argippo – RV 697

Opera in 3 Acts Original language: Italian

Playing time ca. 2 hours Premiere: 1730, Prague, Theatre Count Franz Anton von Sporck

Libretto by Domenico Lalli

Cast Recording

Hofmusici Baroque Ensemble-Ondrej Macek, Veronika Mracková Fuciková (Agrippo) - Mezzosopran, Pavla Stepnicková (Zanaida) - Mezzosopran, Jana Binove-Koucká (Osira) - Soprano, Barbora Sojková (Silvero) - Soprano, Zdenek Kapl (Tisifaro) - Baryton Recorded 2008

Roles:

• Agrippo (Mezzo Soprano) - König vom Cingone / King of Cingone • Tisifaro (Bariton) - großer Mogul / great Mogul • Zanaida (Mezzo Soprano) - Tochter des Moguls, Braut von Silvero / Daughter of the Moguls, bride of Silvero • Osira (Soprano) - Königin Cengone ist die treue Geliebte ihres Ehemanns Agrippo / Queen Cengone is the faithful lover of her husband Agrippo • Silvero (Soprano) - ihr Cousin und Ehemann der okkulten Zanaide / her cousin and husband of occult Zanaide

Synopsis:

Several operas Vivaldi wrote specifically for Prague's patrons - including "Argippo". In the fall of 1730 the opera was heard in Counts Špork private theater for the first and for more than two centuries and three quarters last time. Unfortunately the score was lost and only the libretto survived. Then in 2006 Czech harpsichordist Ondrej Macek discovered around half the arias of the opera in the library of the counts of Thurn und Taxis, supplying the missing arias fRome the composer’s other operas of the period.

The opera is set in an Indian royal court and centers around a young princess smitten by a dishonest suitor. It has three acts and lasts over two hours.

By baroque standards the opera is rather short, it lasts just two hours with only eighteen arias. The plot concerns disputes within the family of Tisifaro the Grand Mogor, who is ruler of a part of the East Indies. His only daughter Zanaida is loved by two princes, Silvero and Argippo.

Whilst Argippo is away Silvero tricks Zanaida into thinking he is Argippo and she yields to his desires. Argippo falls in love with Osira and marries her. When he returns to the court of the Grand Mogor with his new wife, Zanaida becomes convinces that Argippo is faithless. Silvero’s deceit is discovered, Osira’s life is placed in danger and Silvero saves her.

The opera is set in an Indian royal court. Two princes advertise in "Argippo" for the love of a princess. It tells the story of two princes confusion, holding the hand of a princess - it's about love, honor, cunning, and passion.

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Armida al campo d'Egitto (Armida at the field of Egypt) – RV 699

Opera in 3 Acts Original language: Italian

Playing time ca. 3/4 hours Premiere: 1718, Venice, Teatro San Moisè

Libretto by Giovanni Palazzo

Cast Recording

Concerto Italiano-Rinaldo Alessandrini Sara Mingardo (Armida)-Alto, Furio Zanasi (Califfo)-Bariton, Marina Comparato (Emireno)- Mezzosoprano, Romeina Basso (Adrasto)-Mezzosoprano, Martin Oro (Tisaferno)-Tenor, Monica Bacelli (Osmira)-Mezzosopran, Raffaela Milanesi (Erminia)-Soprano Recorded 2010

Roles:

• Armida (Contralto) - ein königlicher Prinz / a royal princess • Califfo (Bass) - König von Ägypten / King of Egypt • Tisaferno (Contralto castrato) • Adrasto (Contralto) – ein Krieger / a warrior • Emireno (Contralto castrato) - Ein General / a general • Erminia (Soprano) - eine königliche Prinzessin / a royal princess • Osmira (Soprano) - Califfo's Nichte / Califfo's niece

Synopsis:

Egypt, anno 1099 Love trifling and intrigues.

The libretto of Armida designed by Giovanni Palazzi leans even on Torquato Tasso's epic poem Gerusalemme Liberata, but focuses not of other composers often accompanied by sound relationship of the Queen of Damascus to the Crusaders Rinaldo, but revolves around the request for assistance fRome brooding on revenge Abandoned at the caliph, king of Egypt, which lays down its troops in Gaza to the attack on the besieged by the Christians of Jerusalem. However, is not the war in the center of the action, but the ratio of the sorceress Armida two they sought warriors.

Act 2 of the original version of the opera is now lost. Since the music for Act II was missing, substitute music was found in other Vivaldi operas and used for the surviving aria texts from Armida. In addition, new recitative was composed for Act 2. Three of the original arias from Act 1 are known from other sources while the remainder has been lifted from other Vivaldi operas and gently adjusted to fit Armida’s libretto.

First performed at Carnival in 1718. The Opera based on the Romeance of Rinaldo and Armida, Vivaldi's version starts during previous events before the war against the Crusaders. Through Armidas wiles she lures crusaders into her power, pursuing a vendetta, in particular, against Rinaldo, whom she takes to her magic island. When he is brought again to his senses, he leaves her, but when she is finally defeated by the crusaders, he saves her fRome death, gives her back her kingdom and there is a final reconciliation. It's a revenge drama: the somewhat self-destructive, certainly determined, Armida has been abandoned by Rinaldo. She travels to Gaza to wreak revenge. Intrigue, deception, gesture, sorcery, malice, much rivalry and some misunderstanding all follow. Vivaldi's music explores these emotions and experiences over and above any way in which the opera exposes events in a purely narrative way..

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Arsilda, Regina di Ponto (Arsilda, Königin von Pontus) – RV 700

Opera in 3 Acts Original language: Italian

Playing time ca. 2 3/4 hours Premiere: October, 28 1716, Venice, Teatro Sant'Angelo

Libretto by Domenico Lalli

Cast Recording

Modo Antiquo-Federico Maria Sardelli, Coro da Camera Italiano Simonetta Cavalli (Arsilda)-Mezzosoprano, Lucia Sciannimanico (Lisea)-Mezzosoprano, Elena Cecchi Fedi (Mirinda)-Soprano, Nicky Kennedy (Barzane)-Soprano, Joseph Cornwell (Tamese)- Tenor, Sergio Foresti (Cisardo)-Bass, Alessandra Rossi (Nicandro)-Soprano Recorded 2004

Roles:

• Arsilda (Mezzo-soprano) - Königin von Pontus / Queen of Pontus • Nicandro (Soprano - en travesti) • Cisardo (Bass) - Onkel von Temese und Lisea / Temese's and Lisea's oncle • Tamese (Tenor) - Prinz von Cilicia / prince of Cilicia • Lisea (Mezzo-soprano) - Schwester von Tamese / Tamese's sister • Barzane (Soprano castrato) - König von Lydien / King of Lydia • Mirinda (Soprano)

Synopsis:

The story is as complicated as most libretti fRome the 17th and 18th century, with a lot of disguise and gender- bending. Arsilda is the queen of Pontus and is engaged to Tamese, prince of Cilicia. He is thought to be dead, and as the crown of Cilicia is reserved to a male, his place is taken by his twin sister Lisea, pretending to be her brother. That causes problems when Arsilda wants to marry. Another complication is that Lisea has been pRomeised to Barzane, king of Lydia, who is in love with Arsilda. He is looking for revenge as Tamese had taken away Arsilda, and invades the country. But he is captured thanks to Tamese, disguised as a gardener.

Act 1

Arsilda is the queen of Pontus and is engaged to Tamese, Prince of Cilicia. It is believed that he went down with a ship and dead. The crown of Cilicia now goes to a male heir, but she is taken fRome his twin sister Lisea who disguises herself as her brother. This causes problems, as Arsilda wants to marry. A further complication is that Lisea in Barzane, king of Lydia, is in love, but Arsilda was pRomeised.

Act 2

In the second act Lisea is disguised as Tamese faced Barzane with his infidelity to her. The actual Tamase is not dead in the wreck of a ship, he was rescued and is now in the park of the palace disguised as a gardener. He is deeply grieved, because he believes that his sister has deliberately usurped the throne. Barzane localized Arsilda, but she is identified by Tamese who does not disclose his real identity. Arsilda feels immediately attracted by the unknown savior, while Barzane is taken. Shortly thereafter Lisea, which was in a beatification in a temple, informed of the arrest by her uncle. He sees his mistake and decides Lisea to ask for forgiveness. In the meantime disclosed Tamese Arsilda that her 'fiance' is his sister Lisea. Cisardo, uncle of the twins, has overheard his confession and decides to take action.

Act 3

In the third act the true identity of all the characters involved is disclosed. The opera ends with the marriage of Tamese and Arsilda as King and Queen of Cilicia, and Barzane's return as king of Lydia with Lisea as his queen.

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L' Atenaide – RV 702

Opera in 3 Acts Original language: Italian

Playing time ca. 3 3/4 hours Premiere: December, 29 1728, Florence, Teatro la Pergola

Libretto by Apostolo Zeno

Cast Recording

Modo Antiquo-Federico Maria Sardelli, Coro da Camera Italiano Sandrine Piau (Eudossa) - Soprano, Vivica Genaux (Teodosio) - Soprano, Guillemette Laurens (Pulcheria) - Mezzosoprano, Romeina Basso (Varane) - Mezzosoprano, Nathalie Stutzmann (Marziano) - Contralto, Paul Agnew (Leontino) - Tenor, Stefano Ferrari (Probo) - Tenor Recorded 2007

Roles:

• Atenaide (Soprano) - unter dem Namen Eudossa, Tochter von Leontine / under the name of Eudossa, daughter of Leontine • Pulcheria (Mezzo-Soprano) - Schwester von Theodosius / sister of Theodosius • Teodosio (Soprano castrato) – Kaiser des Oströmischen Reiches, Liebhaber von Atenaide / Emperor of the East-Romean empire, lover of Atenaide • Leontino (Tenor) - Philosoph, Vater von Atenaide / Philosopher, father of Atenaide • Varane (Contralto - travesti) - König von Persien, Liebhaber der Atenaide / King of Persia, lover of Atenaide • Marziano (Contralto - travesti) - General Theodosius, Pulcheria's Liebhaber / General of Theodosius, Pulcheria's lover • Probo (Tenor) - Präfekt der Prätorianer, Liebhaber von Pulcheria / Prefect of the Praetorian lover of Pulcheria

Synopsis:

The scene takes place in the Royal Palace of Byzantium.

The complicated story deals with the historical figure of Athenais, the empress of the East converted to Christianity under the name of Eudocia, and her proposed marriage to the Romean Emperor Teodosio.

The highlight to this opera, and one of the highlights of all of Vivaldi's dramatic music, is Eudossa's soliloquy in the third act. She has just been rejected by her lover, the Emperor Teodosio II, having already been rejected by Varvane. The soliloquy is made up of flexible arioso writing and accompanied recitative. Her sadness is expressed through the use of a variety of affective intervals, such as the rising minor seventh, rising minor sixth, and diminished fifth.

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Bajazet - Il Tamerlano (The Tamerlan) – RV 703

Opera in 3 Acts, Pasticcio Original language: Italian

Playing time ca. 2 1/2 hours Premiere: spring of 1735, Verona

Libretto by Agostino Piovene

Cast Recording

L'Europa Galante-Fabio Biondi David Daniels - Countertenor, Ildebrando D'Arcangelo - Bass, Patrizia Ciofi - Soprano, Vivica Genaux & Marijana Mijanovic & Elina Garanca - Mezzosoprano Recorded 2004

Roles:

• Tamerlano (Mezzo-Soprano) - Kaiser der usbekischen Türken / the emperor of the Uzbek Turks • Bajazet (Bariton) - Kaiser der osmanischen Türken, jetzt Gefangener von Tamerlan / the emperor of the Ottoman Turks, now a prisoner to Tamerlane • Asteria (Contralto) - Tochter des Bajazet, verliebt in Andronicus / daughter of Bajazet, in love with Andronicus • Andronicus (Contralto castrato) - Prinz von Griechenland, Verbündeter von Tamerlan / a prince fRome Greece, ally of Tamerlane • Irene (Contralto) - Prinzessin von Tresbisond, zur Ehe mit Timur versprochen / princess of Tresbisond, pRomeised in marriage to Tamerlane • Idaspe (Soprano castrato) - Freund von Andronicus / friend of Andronicus

Synopsis:

Bajazet is a pasticcio. It was a common practice during Vivaldi's time for composers to borrow and adapt arias fRome other composers with their own works for an opera. Vivaldi himself composed the arias for the good characters (Bajazet, Asteria and Idaspe) and mostly used existing arias fRome other composers for the villains (Tamerlano, Irene, Andronico) in this opera.

The story is about the fate of Bajazet (known as Beyazid I) after being captured by Tamerlane (Timur Lenk).

The plot revolves around two pRomeinent figures in Turkish history: Bajazet and Tamerlano, otherwise known to us as Sultan Bayezit I and Timurlenk, the emperor of the Uzbek Turks. In the opera, Tamerlano has just captured Bajazet as prisoner of war, around 1400. Three women: Irene, Asteria and Idaspe, are interwoven in a drawing-room drama of complicated relationships among these two men and the Greek prince Andronicus, who is Tamerlano’s ally.

His only daughter in the bed of the Deadly Foe? No, Bajazet will not buy his freedom at this price! Dear dying! And he does after a series of failed attacks, tangles, confusion and Tamerlane gruesome intention also, to throw the reluctant Asteria his wild Sodateska as a fair game. The limit of endurance is full of Bajazet, who complains to the gods in heart-rending tones his misery. Then he kills himself. But now want to die also Asteria. With its pleading "kill, beat, falls me," she begs the tyrant to death - and softens his stony heart Tamerlane feels a human stirring, goes in and changes his mind: Renounce Bajazet's daughter, returns to his outcast bride Irene back, there Asteria and the generous friend together and makes both the Emperor and Empress of Byzantium! The double wedding, nothing stands in the way. And all praise with a cheerful "Crowned with lilies and roses" happy peace.

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Il Catone in Utica – RV 705

Opera in 3 Acts Original language: Italian

Playing time ca. 2 1/2 hours Premiere: 1737, Verona

Libretto by Pietro Metastasio

Cast Recording

La Grande Ecurie et la Chambre du Roy - Jean-Claude Malgoire Simon Edwards (Catone) - Tenor, Jacek Laszczkowski (Cesare) - Male Soprano, Liliana Faraon (Marzia) - Soprano, Verónica Cangemi (Emilia) - Soprano, Philippe Jaroussky (Arbace) - Male Alto, Diana Bertini (Fulvio) - Alto Recorded 2001

Roles:

• Catone (Tenor) - Heerführer von Caesar / Commander of Caesar • Marzia (Mezzo Soprano) - seine Tochter, verliebt in Caesar / his daughter, falls in love with Caesar • Emilia (Mezzo Soprano) - Witwe von Pompeius / Widow of Pompey • Cesare (Counter Soprano) • Arbace (Soprano) - Numischer Prinz, soll Marzia heiraten / Numish Prince, Marzia is to marry • Fulvio (Countertenor) - General Caesars / General of Caesar

Synopsis:

The tragedy of the Romean statesman Cato, who lived fRome 95 to 46 B.C. and went down in the history of Ancient Romee as the “father of the fatherland”, is one of the subjects most frequently set to music in the baroque period. In the city of Utica in northern Africa, the strict Republican Cato and the dictator Julius Caesar encounter each other. In spite of his overwhelming military superiority, Caesar tries to win over Cato as his friend. But Cato refuses to give up his principles, despite Caesar’s willingness to compRomeise. The historical Cato committed suicide following Caesar’s victory in the civil war. This was too much for audiences in Vivaldi’s day, so the composer has Cato surrender completely and remain alive.

The subject was one the 18th century held dear: the last stand, at Utica in North Africa, of the Romean Republic's army under Marcus Cato against the forces of the emerging empire led by Julius Caesar. The libretto is far fRome factual. The real Cato chose suicide over surrender, a decision seen by posterity as exemplifying the preservation of moral integrity when faced with inevitable corruption. His operatic counterpart, however, is prevented fRome taking his own life, and the work ends with messy compRomeise. The emotional focus rests with Emilia, widow of Caesar's murdered enemy Pompey, whose demands for justice go unheard on both sides of the political divide. The score of the first act is lost, and modern revivals depend on reconstructive work.

If the truth be known, the plot stands very well with just the last two acts; the libretto of the first is exposition. The opera concerns the Republican Cato’s (tenor) refusal to give in to Caesar (male soprano), who has killed Pompey and taken over Romee. Pompey’s widow Emilia (soprano) actually is the piece’s villain–her hatred for Caesar keeps everyone’s feelings toward him inflamed and she tries to manipulate his death. Cato’s daughter Marzia (soprano) loves Caesar, but he (Cato) wants her to marry Arbace, his ally. This is a real problem. And Caesar’s ally, Fulvio, loves Emilia, although he may just be covering his bets–a confusing bonus. Metastasio, the librettist, wanted Cato to die onstage in his daughter’s arms but opted for him to die off stage and have Marzia report it. Even that was too strong for 18th century Verona, so he recast it with a happy ending: after Cato’s army is defeated Caesar spares Cato in order to gain Marzia’s love, Emilia leaves in disgrace after swearing revenge, Arbace is unhappy but realizes that the outcome is good for the country, and peace returns. The final chorus is suitably unconvincing, and I bet Vivaldi knew it. He scored the soprano Caesar’s vocal line so low that there’s no real enthusiasm; the music is like an editorial commentary.

12 – Antonio Vivaldi – Complete Opera –

Dorilla in Tempe – RV 709

Opera in 3 Akten, Pasticcio Original language: Italian “melodramma erioco-pastorale“

Playing time ca. 2 1/2 hours Premiere: November, 9 1726, Venice, Teatro San Angelo

Libretto by Antonio Maria Lucchini

Cast Recording

Ensemble Baroque De Nice-Gilbert Bezzina, Choeurs de l'Opera de Nice-Errol Girdlestone Maria-Cristina Kiehr (Dorilla) - Soprano, John Elwes (Elmiro) - Tenor, Philippe Cantor (Admeto) - Bariton, Jean Nirouet (Nomio) - Counter-Tenor, Consuelo Caroli (Eudamia) - Mezzo-Soprano, Laure Florentin (Filindo) - Soprano Recorded 1994

Roles:

• Admeto (Bass) - König von Thessalien / King of Thessaly • Dorilla (Soprano) - Tochter von Admeto, verliebt in Elmiro / daughter of Admeto, in love with Elmiro • Nomio/Apollo (Contralto castrato) - Gott Apollo als Schäfer verkleidet, verliebt in Dorilla / the god Apollo disguised as a shepherd, in love with Dorilla • Elmiro (Soprano - breeches role) - ein Hirte, verliebt in Dorilla / a shepherd, in love with Dorilla • Eudamia (Mezzo Soprano) - eine Nymphe, verliebt in Elmiro / a nymph, in love with Elmiro • Filindo (Contralto castrato) - verliebt in Eudamia / in love with Eudamia • Chor / Chorus

Synopsis:

Dorilla in Tempe was termed by its creators a melodramma eroico-pastorale, meaning a semi-serious heroic work based on a pastoral theme.

The production was sumptuous, utilizing spectacular sets, elaborate ballets, a lengthy dance sequence involving a hunting expedition, and extensive choruses. In 1734 it was revived, and turned into a pasticcio opera. At that time Vivaldi added at least ten arias by other composers, including pieces by Johann Adolf Hasse, Leopold Leo, and Geminiano Giacomelli.

The story takes place in Tempe. Like the music, the plot intertwines pastoral and heroic elements and centers on the shepherd Nomio, who is in fact Apollo in disguise. Nomio falls in love with Dorilla, the daughter of Admeto, King of Thessaly, who is herself in love with the shepherd Elmiro. Admeto is forced by the gods to save his kingdom by offering his daughter as a sacrifice to the sea-serpent Pitone, but she is rescued just in time by Nomio. Nomio claims the hand of Dorilla as his reward, but she remains reluctant and escapes with Elmiro. The pair are captured, and Elmiro is sentenced to death. Finally, however, the intervention of Nomio, revealing his divine identity, saves the situation and Dorilla and Elmiro are reunited.

13 – Antonio Vivaldi – Complete Opera –

Ercole su’l Termodonte – RV 710 (Herkules am Termondon / Hercules at Termondon)

Opera in 3 Acts Original language: Italian

Playing time ca. 2 ½ hours Premiere: January, 23 1723, Rome, Teatro Capranica

Libretto by Antonio Salvi

Cast Recording

Europa Galante - Fabio Biondi Rolando Villazon - Ercole, Romeina Basso - Teseo, Patrizia Ciofi - Orizia, Diana Damrau - Mertesia, Joyce DiDonato - Hippolita, Vivica Genaux - Antiope, Philippe Jaroussky - Alceste, Topi Lehtipuu - Telamone Recorded 2009

Roles:

• Ercole/Hercules (Tenor) • Antiope (Soprano - castrato [travesti]) - Königin der Amazonen / Queen of the Amazons • Martesia (Soprano - castrato [travesti]) - Antiope's daughter • Ippolita/Hippolyte (Soprano - castrato [travesti]) - Antiope's Tochter / Antiope's sister • Orizia (Soprano - castrato [travesti]) - Antiope's zweite Schwester / Antiope's second sister • Teseo/Theseus (Contralto castrato) - Prinz von Athen / Prince of Athens • Alceste (Soprano - castrato) - König von Sparta / King of Sparta • Telamone (Contralto castrato) - König von Ithaka / King of Ithaca • Chor / Chorus

Synopsis:

Ercole sul Termodonte is a well-prepared pasticcio put together by Vivaldi from his own works and first performed in Rome in 1723. The plot is simple and effective: four Greek warriors and their leader, Hercules, defeat four Amazons, Hippolyta, Orithya, Martesia and their queen Antiope, but not before hostages are taken on both sides.

Ercole was long thought to be lost. The score has only recently been reconstructed – via archival research and imaginative extrapolation, as Biondi explains at length in his liner notes. First performed in 1723, it provided Vivaldi with a suitably splashy debut in Rome (where all the female roles had to be sung by countertenors in conformity with the Pope's unwillingness to see women on stage). The basic story involves the conquest of the Amazons by Hercules. But the plot is never more than a coat-hanger in any Baroque opera. In this case it is a pretext for regular alternations between the warlike and the amorous, violent mood-swings that supply a crazy wonderful rhythm to the whole.

The story is based on the ninth of twelve legendary Labors of Hercules. To atone for killing his children in wrath, Hercules must perform twelve labors, the ninth of which is to travel to Thermodon and capture the sword of the Amazon Queen Antiope. (In other versions of the story, the quest was for her magical girdle.) The Amazons were a tribe of female warriors who put all their male children to death.

Hercules, accompanied by the heroes Theseus, Telamon and Alceste, attacks the Amazons and captures Martesia, daughter of the queen. The Amazons then capture Theseus and, as soon as Queen Antiope swears to sacrifice him, Hippolyte falls in love with him. In the end, the goddess Diana decrees the marriage of Hippolyte with Theseus, prince of Athens, and of Martesia with Alceste, king of Sparta.

Finally Hercules triumphs, when he conquered Antiope sword and belt as a trophy.

The twelve Labors of Hercules:

Labor 1: The Nemean Lion, Labor 2: The Lernean Hydra, Labor 3: The Hind of Ceryneia, Labor 4: The Erymanthean Boar, Labor 5: The Augean Stables, Labor 6: The Stymphalian Birds, Labor 7: The Cretan Bull, Labor 8: The Horses of Diomedes, Labor 9: The Belt of Hippolyte, Labor 10: Geryon's Cattle, Labor 11: The Apples of the Hesperides, Labor 12: Cerberus

14 – Antonio Vivaldi – Complete Opera –

Farnace – RV 711

Opera in 3 Acts Original language: Italian

Playing time ca. 3 hours Premiere: February, 10 1727, Venice, Teatro Sant’Angelo Libretto by Antonio Maria Lucchini

Cast Recording I Barocchisti Ensemble - Diego Fasolis, Coro della Radiotelevisione svizzera, Lugano Sopranos: Laura Antonaz, Antonella Balducci, Rossana Bertini, Lorenza Donadini, Anna Simboli, Sylva Pozzer, Altos: Cristina Calzolari, Carol Germond, Brigitte Ravenel, Silvia Finali, Tenors: Paolo Borgonovo, Raffaele Giordani, Giusppe Maletto, Massimiliano Pascucci, Basses: Matteo Bellotto, Gabriele Lombardi, Marco Radaelli, Yannis Vassilakis Recorded 2010

Roles: • Farnace (Altokastrat) - König des Pontos / King of Potus • Berenice (Soprano) - Königin von Kappadokien, Mutter Tamiris / Queen of Cappadocia, mother Tamiris • Tamiri (Alto) - Königin und Gattin des Farnace / Queen and wife of Farnace • Selinda (Soprano) - Farnace's Schwester / Farnace's sister • Pompeo (Altokastrat) - römischer Prokonsul / Romean proconsul • Gilade (Sopranokastrat) - Fürst königlichen Blutes, Kapitän Berenices / Prince of royal blood, captain Berenices • Aquilio (Tenor) - Präfekt der römischen Legionen / Prefect of the Romean legions • Ein Knabe (stumme Rolle / silent role) - Sohn von Farnace und Tamiri / Son of Farnace and Tamiri • Chor / Chorus - Römische und asiatische Soldaten / Romean and Asian soldiers

Synopsis:

The plot of Farnace refers to the historical person of Pharnaces II, son of Mitridate and King of Bosporus 64-47 B.C. The historical events in the libretto are freely interpreted. Farnace, King of Pontus, has been defeated, and to avoid their falling into the hands of the enemy, he commands his wife, Tamiri, to kill their son and then herself. Tamiri's mother, Berenice, hates Farnace and is in cahoots with Pompey, the Roman victor, to kill him. Selinda, Farnace's sister, is taken captive by the Roman Aquilius, who falls in love with her, as does Berenice's Captain, Gilades. Selinda plays them off one another in an attempt to save her brother. Somehow, it ends happily and everyone is spared.

Act 1 Farnace, King of Pontus, has been defeated by the Romans and banished from the city of Heraclea. He thinks of revenge, but doubts to be victorious. Therefore he orders his wife Tamiri to kill first their son and then herself to prevent them from falling into the hands of the Romans. The Queen Berenice, Tamiri’s mother enters the scene. She hates Farnace and has therefore allied with Pompeo, the general of the Roman troops to kill the defeated king. In the meantime, Selinda, Farnace’s sister, who has been captured and imprisoned by the Romans, has managed to seduce the Roman prefect Aquilio as well as Gilade, captain of Berenice’s army and plays of one against the other; thus trying to help her brother. Tamiri has decided to save her son and hides him in the mausoleum of the Kings of Pontus. In the moment she wants to kill herself, Berenice enters and stops her daughter from commiting suicide. While they argue, Pompeo enters with his army, intensifying the atmosphere of hatred.

Act 2 Selinda follows her strategy, in pretending to choose between Gilade and Aquilio, she rejects both of them. Berenice in the meantime has ordered to search for Farnace and his son. Farnace is in such despair that he tries to commit suicide but is prevented by his wife Tamiri. Startled to see her alive, he upbraids her of “cowardice” for not having killed herself, although she has done this for their child. In this moment Berenice enters and gives order to destroy the mausoleum. Farnace manages to hide, while the despaired Tamiri shows Berenice her grandson, bidding for mercy. But the Queen rejects her daughter and takes the boy away with her. In the Royal apartments, the child is given to the custody of Aquilio. Selinda begs for the life of her nephew and manages to gain the support of Aquilio and Gilade in this case. She offers Farnace, who has secretly entered the palace, the assistance of the two captains, but he recects any help.

Act 3 The Roman troops and Berenice’s army celebrate their triumph on the plains of Heraclea. The Queen offers Pompeo half of her riches, if he kills her grandson, the heir of Pontus, since his father Farnace could not been captured, but he declines. Selinda succeeds to persuade Gilade to kill Berenice, while she convinces Aquilio to murder Pompeo. Farnace arrives in the moment Gilade and Aquilio are trying to kill the Roman general. But they fail and Farnace’s identity is revealed by Berenice and he is imprisoned. Gilade and Aquilio manage to release him and are preparing to kill Berenice. Pompeo, who meanwhile has changed sides, spares the Queen’s life and pardons her — at the same time claiming from her to give up her persecution of Farnace. Both reconcile and Berenice embraces him as a son.

15 – Antonio Vivaldi – Complete Opera –

La fida ninfa (Die treue Nymphe / The trust nymph) – RV 714

Opera in 3 Acts Original language: Italian

Playing time ca. 3 1/4 hours Premiere: Januar y, 6 1732, Verona, Teatro Filarmonico

Libretto by Francesco Scipione.

Cast Recording

Ensemble Matheus-Jean-Christophe Spinosi Sandrine Piau (Licori) - Soprano, Verónica Cangemi (Morasto) - Soprano, Marie-Nicole Lemieux (Elpina) - Contralt, Lorenzo Regazzo (Oralto) - Bass, Philippe Jaroussky (Osmino) - Contra Tenor, Topi Lehtipuu (Narete) - Tenor, Sara Mingardo (Giunone) - Contralt, Christian Senn (Eolo) - Bass-Bariton Recorded 2008

Roles:

• Licori (Soprano) - Nymphe von Skyros / nymph of Skyros Morasto (Soprano) • Elpina (Contralto) - Nymphe von Skyros / nymph of Skyros • Narete (Tenor) - Vater von Licori und Elpina / father of Licori and Elpina • Osmino [Tirsi] (Contralto) • Oralto (Bass) - Korsar und Herr Naxos, Ägäische Insel / corsair and Sir of Naxos, Aegean island • Giunone (Contralto) • Eolo (Bass) • Chor / Chorus

Synopsis:

The action takes place on the island of Naxos. A love story with hijacked by pirates innocent shepherds along with the usual confusion and the divine intervention at the end, everything turns out the best.

The plot is, as usual, entangled sprawling baroque and extreme. Juno threaded the experimental arrangement a - a couple who had promised each other and fell in love, and is separated after 17 years on foreign soil found (on Naxos) back to each other.

The complications come about because running around on the island two men with the same name Osmin. One is called really, but know nothing more, because he was renamed by the kidnappers in Morasto, he is governor of Naxos. The other man's name is actually Tirsi, but know nothing more of it, and is called by all Osmin ... The two are brothers, but they do not know.

The nymph called Licori, has a sister named Elpina, there is a Shepherd father. And of course an evil pirate ruler Oralto who wants the beautiful Licori.

So the other one runs after; and at the end though everyone knows how he really means, but if that really worked with the mess-finding, is not entirely clear. Without the help from above it does not work anyway.

16 – Antonio Vivaldi – Complete Opera –

Il Giustino – RV 717

Opera in 3 Acts Original language: Italian

Playing time ca. 4 3/4 hours Premiere: 1724, Rome, Teatro Capranica

Libretto by Nicolò Beregan

Cast Recording

Il Complesso Barocco-Alan Curtis Marina Comparato (Anastasio) - Soprano, Dominique Labelle (Arianna) - Soprano, Francesca Provvisionato (Giustino) - Mezzo Soprano, Geraldine McGreevy (Leocasta) - Soprano, Leonardo De Lisi (Vitaliano) - Tenor, Laura Cherici (Amanzio) - Soprano Recorded 2002

Roles:

• Giustino (Contralto) - Bauer, dann Kaiser, Bruder von Vitaliano und Andronicus / farmer, then emperor, brother of Vitaliano and Andronicus • Arianna (Soprano) - seine Frau / his wife • Leocasta (Soprano) - Schwester von Anastasius / sister of Anastasius • Vitaliano (Tenor) - Tyrann von Kleinasien / tyrant of Asia Minor • Andronico (contralto) - Vitaliano's Bruder, Liebhaber von Leocasta / Vitaliano's brother, lover of Leocasta • Amanzio (Soprano) - kaiserlicher General / imperial general • Polidarte (Tenor) - Kapitän von Vitaliano / Captain of Vitaliano • La Fortuna (Soprano) - Das Glück / The fortune • La voce di Vitaliano Seniore (Tenor) - Die Stimme von Vitaliano Seniore / The voice of Vitaliano Seniore • Chor / Chorus - Begleter der Fürsten, Ritter und Damen, Wachen / Court of princes, knights and ladies, guards

Synopsis:

The career of Emperor Justin I is historical fact. Justin, a peasant’s son, was a soldier in Byzantium, rose to the rank of commander of the palace guard and, following the death of the emperor, made use of a court intrigue to have himself crowned. The Venetian lawyer Nicolò Berengani, an accomplished writer, created a libretto for an opera from the story.

Its story of the peasant Giustino being guided by the goddess Fortuna to the head of the Byzantine army, leading them to victory over the Scythians and finally becoming emperor of Rome, provides plenty of opportunity for vividly illustrative music.

At the beginning and at the end of this opera is a coronation. In between are not only out of love, revenge, or lust for power, fueled intrigue, but also a great dream: to ascend and to attain world fame. The historical figure of the Emperor Justin I (Giustino), who came from a poor peasant family, and became the emperor over the Eastern Roman Empire, is the heroic background of the opera. In Vivaldi Giustino the goddess Fortuna appears in a dream and tells him to take his fortune into their own hands. In the war between not only power, but also to the same woman fighting rulers Anastasio and Vitaliano, he puts himself on the side of the Byzantine Emperor Anastasius. Not least because he loves his sister Leocasta. The discovery that Giustino is the royal brother of Vitaliano, unites the opponents and Giustino leads to the throne.

17 – Antonio Vivaldi – Complete Opera –

Griselda – RV 718

Opera in 3 Acts Original language: Italian

Playing time ca. 2 1/2 hours Premiere: May, 18 1735, Venice, Teatro San Samuele Libretto by Carlo Goldoni based on a novella from the Decameron by Giovanni Boccaccio

Cast Recording

Ensemble Matheus - Jan-Christophe Spinosi Marie-Nicole Lemieux (Griselda) - Contralt, Verónica Cangemi (Constanza) - Soprano, Simone Kermes (Ottone) - Soprano, Philippe Jaroussky (Roberto) - Contra-Tenor, Stefano Ferrari (Gualtiero) - Tenor, Iestyn Davies (Corrado) - Contra-Tenor Recorded 2006

Roles:

• Gualtiero (Tenor) - König von Thessalien / King of Thessaly • Griselda (Contralto) - Frau von Gualtiero / wife of Gualtiero • Costanza (Soprano) - ihre Tochter, unbekannt für Griselda, verliebt in Roberto / their daughter, unknown to Griselda, in love with Roberto • Roberto (Soprano castrato) - ein Athener Prince, verliebt in Costanza / an Athenian Prince, in love with Costanza • Ottone (Soprano castrato) - ein Thessalianischer Edelmann / a Thessalian nobleman • Corrado (Soprano - en travesti) - Roberto's Bruder, Freund von Gualtiero / Roberto's brother, friend of Gualtiero • Everardo (stumme Rolle / silent role) - Sohn von Gualterio und Griselda / son of Gualterio and Griselda

Synopsis:

The opera tells the story of a queen who is despised by their subjects because of their low origin, but strength of his courage and steadfastness manages to win the love of her people. To prove his rebellious people that the aristocracy of virtue is worth more than that of the bloodline, the king's coming from a humble woman subjected to the most terrible trials: The children will be taken away from her, she herself is violated and to the new queen even as slave serve. As if that was not enough, you want to force them to their hateful, scheming to marry generalissimo of his majesty. Griselda (ie as the tragic heroine) suffers and endures it all with saintly forbearance, devotion and yes - you may not believe it - Not cut in bulk variable love with her ex-husband. Because it does so voluntarily, self-determined. It was only when her marriage is re-ordered, it seeks to: This humiliation she will not accept, do not tell her first and only love! Here end the tests: The people are convinced the king it was anyway always, the supposed rival turns out to be in the stranger grown ("sham dead") daughter, who finally allowed to marry her lover, and even the covetous General exerts waiver. Well that ends well.

Act 1 Years before the action begins, Gualtiero, King of Thessaly, had married a poor shepherdess, Griselda. The marriage was deeply unpopular with the king's subjects and when a daughter, Costanza, was born, the king had to pretend to have her killed while secretly sending her to be brought up by Prince Corrado of Apulia. Now, faced with another rebellion from the Sicilians, Gualtiero is forced to renounce Griselda and promises to take a new wife. The proposed bride is in fact Costanza, who is unaware of her true parentage. She is in love with Corrado's younger brother, Roberto, and the thought of being forced to marry Gualtiero drives her to despair.

Act 2 Griselda returns to her home in the countryside where she is pursued by the courtier Ottone, who is in love with her. She angrily rejects his advances. Gualtiero and his followers go out hunting and come across Griselda's cottage. Gualtiero foils an attempt by Ottone to kidnap Griselda and allows her back to the court, but only as Costanza's slave.

Act 3 Ottone still resolutely pursues Griselda and Gualtiero promises him her hand as soon as he himself has married Costanza. Griseld16:36 24.09.2014a declares she would rather die and, moved by her faithfulness, Gualtiero takes her back as his wife. He reveals the true identity of Costanza and allows her to marry Roberto.

18 – Antonio Vivaldi – Complete Opera –

L'incoronazione di Dario (The Coronation of Darius) – RV 719

Opera in 3 Acts Original language: Italian

Playing time ca. 3 hours Premiere: January, 23 1717, Venice, Teatro Sant'Angelo Libretto by Carlo Francesco Badini

Cast Recording

Ensemble Baroque de Nice-Gilbert Bezzina John Elwes (Dario) - Tenor, Gérard Lesne (Statira) - Counter-Tenor, Henri Ledroit (Argene) - Counter-Tenor, Michel Verschaeve (Niceno) - Baryton, Isabelle Poulenard (Alinda) - Soprano, Agnés Mellon (Oronte) - Soprano, Isabelle Poulenard (Arpago) - Soprano, Dominique Visse (Flora) - Counter-Tenor, John Elwes - Tenor, Michel Verschaeve - Baryton Recorded 1986

Roles:

• Dario (Tenor) - König von Persien / King of Persia • Statira (Alto) - Tochter des Cyrus / Daughter of Cyrus • Argene (Alto) - ihre Schwester / her sister • Niceno (Bariton) - Philosoph • Alinda (Soprano) - Prinzessin von Media / Princess of Media • Oronto (Mezzo Soprano) - Rivale des Dario / Rival of Dario • Arpago (Soprano) - Rivale des Dario / Rival of Dario • Flora (Alto) - Ehrendame der beiden Prinzessinnen / Maid of honor of the two princesses • Phantom des Cyrus / Phantom of Cyrus • Orakel des Apollo / Oracle of Apollo • Chor / Chorus - Höflinge / Pages

Synopsis:

The story is set in the fifth century BC at the Persian court.

There were three contenders for the crown after the death of Cyrus, King of Persia: Dario, who was of noble origin and supported by the Satraps; the young and handsome Oronte, who was supported by the people; and Arpago, the captain, who was supported by the army. Rather than fighting and spilling the blood of the people, Dario suggested that the crown go to the one who marry Statira, Cyrus's elder daughter. This idea was approved by the Oracle of the Sun. Dario was in love and wanted to marry Statira - and win the crown by marrying her. He used Statira's younger sister Argene to succeed. But Argene was secretly in love with Dario, and driven by ambition she plotted against her sister, who was a little simple. The deception was revealed, Dario married Statira, and Argene was severely punished.

19 – Antonio Vivaldi – Complete Opera –

Motezuma – RV 723

Opera in 3 Acts Original language: Italian

Playing time ca. 3 1/4 hours Premiere: November, 14 1733, Venice, Teatro Sant'Angelo Libretto by Giralomo Giusti

Cast Recording

Il Complesso Barocco-Alan Curtis Vito Priante (Motezuma)-Bariton, Mary-Ellen Nesi (Mitrena)-Mezzo Soprano, Laura Cherici (Teutile)-Soprano, Franziska Gottwald (Fernando Cortés)-Mezzo Soprano, Theodora Baka (Ramiro)-Mezzo-Soprano, Gemma Bertagnolli (Asprano)-Soprano Recorded 2006

Roles:

• Motezuma / Montezuma (Counter-Tenor) - Aztekenkönig / Aztec king • Mitrena (Sopran) - seine Gemahlin / his wife • Teutile (Sopran) - ihre Tochter / her daughter • Fernando Cortes (Bassbariton) - spanischer Eroberer / Spanish conquerors • Ramiro (Mezzo Soprano) - sein Bruder, Unterführer der Spanier / his brother, sub-leader of the Spaniards • Asprano (Bass) - aztekischer Feldherr / Aztec commander • Chor / Chorus - Priester, spanische und aztekische Soldaten, Sklaven, Volk / Priests, Spanish and Aztec soldiers, slaves, people

Synopsis:

Mexico, 16th century The Opera tells the story of Moctezuma II, last emperor of Mexico. Motezuma, defeated, is wanted by the soldiers of Spanish conquistador Fernando Cortés. The fallen emperor asks his wife Mitrena to kill their daughter Teutile to prevent her from falling into the hands of the Spanish. Destinies collide in the ensuing events, and a captivating and unpredictable plot unfolds. At the end, Teutile marries Ramiro, Cortés’s brother.

Act 1

Montezuma was defeated by Cortés and on the run. He meets with his wife Mitrena to give him courage to continue to fight, but to keep himself hidden. The ruler orders his wife and his daughter Teutile to kill themselves if they should be captured. Teutile who has fallen in love with Ramiro, Cortés' brother, is inconsolable. The Spaniards, Cortés at the top, surprise the family, the women snatch the dagger and capture them. Montezuma tried in vain out from a hiding place, the Spanish leader to shoot. Ramiro succeeds only with difficulty, to justify himself to Teutile who laments the cruelty of the Spaniards. Montezuma observed the two and tried to kill Teutile. Ramiro, who prevents this hidden Teutile and Montezuma, as he sees his brother. This rejects a ceasefire deal, which brings Mitrena. Again Montezuma tried to kill the Spaniards, but is discovered and arrested.

Act 2

Teutile, worried about her father and the home, the Aztec commander Asprano confides. This sounds Cortés with random and laughs from the two; same time he blames his brother for the love of a Aztec. After Mitrena Cortes has asked in vain to free her husband, it comes back to fierce fighting. In vain Teutile asks her lover to leave the fight and get away with it. It is, as she explains to him, even at risk because an oracle has foretold the victory of the Aztecs, when sacrifice Teutile and the enemy commander was killed.

Act 3

Ramiro has his brother, who fell temporarily into captivity, again freed and brought safely. When the Aztecs - Montezuma has now also freed - attack, they are defeated. Montezuma is locked in a tower. Asprano can not do much, because the Aztecs refuse to obey their hapless continue. Mitrena succeeds in entering into the tower, which is already in flames, she brings her husband through an underground passage in safety. - Fernando Cortes conquered the Aztecs and commanded to submit to and accept the Christian faith. Although Montezuma and Mitrena again try an attack on Cortes, they are pardoned and encouraged to placate the still troubled nation. Finally Cortes is his brother Ramiro, to send a message of reconciliation, the permission to marry Teutile, which also finally Montezuma and Mitrena have to agree.

20 – Antonio Vivaldi – Complete Opera –

L'Olimpiade – RV 725

Opera in 3 Acts Original language: Italian

Playing time ca. 2 1/4 hours Premiere: February, 17 1734, Venice, Teatro San Angelo Libretto by Pietro Metastasio

Cast Recording Clemencic Consort & Ensemble Vocal La Capella - René Clemencic, Andrew Walker Schultze- Clistine, Lucia Meeuwsen-Aristea, Elisabeth von Magnus-Argene, Mieke van der Sluis-Megacle, Gerard Lesne-Licida, Aris Christoffelis-Aminta, William Oberholtzer-Alcandro Recorded 1990

Roles: • Clistene (Tenor) - Father of Aristea, king of Sicione • Aristea (Contralto) - daughter of Clistene • Argene (Soprano) - lives as shepherd under the name Licori • Licida (Mezzo Soprano) - son of the king of Clay • Megacle (Soprano castrato) - lover of Aristea and friend of Licida • Alcandro (Bass) - friend of Clistene • Aminthas (Mezzo Soprano) - Consultant of Licidas

Synopsis:

Place: Ancient Greece Time: During the Olympic Games

Twin children were born to Clistene, King of Sicione, but, warned by the Oracle that he might be murdered by his own son, he rid himself of the son and saved his daughter Aristea. Grown in age and beauty, she was loved by Megacle, a noble Athenian and several times winner of the Olympic Games. However the King would not consent to her marrying an Athenian, and Megacle fled in desperation to Crete. Here he was attacked by brigands and his life was saved by Licida, believed to be the son of the King of Crete. Now Clistene has been elected to preside over the Olympic games and has promised his daughter Aristea to the winner. Licida, who has fallen in love with her, asks Megacle to compete in his place and under his name, since Megacle is a far better athlete. Megacle, unaware that Aristea is the trophy, agrees to the deception, remembering that Licida had saved his life, and rushes off to register for the competition. In the countryside, Aristea talks with Argene, disguised as a shepherdess after fleeing from Crete to escape a forced marriage while she was in love with Licida, who had promised to marry her. While comparing their sad tales, Argene reveals the name of the man she would have been forced to marry: Megacle. King Clistene arrives to announce the beginning of the games and that Licida will be competing. Only after the oath-taking does Megacle realize that he will be competing under Licida’s name for Aristea, who is his own love frustrated by her father’s disapproval. Faced with the moral dilemma, Megacle decides that friendship must prevail over love, and that even Aristea would despise him for a breach of loyalty to a friend. In a fleeting encounter with Aristea, who is overjoyed that he has arrived in time to compete, he can not explain himself and appears cold and distant. Confusion and despair reign as they are called to the arena. The pivotal moment then is the rediscovery of Clistene’s son, abandoned as a child because of the threat of the Oracle. And to this ending inevitably leads the amorous fury of Aristea, the heroic friendship of Megacle, the inconstancy and madness of Licida and the generosity of the faithful Argene.

Act 1 Megacles arrives in Sicyon just in time to enter the Olympic Games under the name of Lycidas, a friend who once saved his life. Unknown to Megacles, Lycidas is in love with Aristaea, whose hand is to be offered to the winner of the games by her father, King Cleisthenes. Lycidas, once betrothed to Princess Argene of Crete, is unaware that Megacles and Aristaea already love each other, and he subsequently tells his friend of the prize. Aristaea and Megacles greet each other fondly, but Megacles now feels bound by his promise to compete as Lycidas. Meanwhile Argene arrives in Olympia disguised as a shepherdess, to win back Lycidas.

Act 2 Megacles wins the games, confesses the truth to Aristaea and departs, broken-hearted. When Lycidas comes to claim her, Aristaea reproaches him, as does the disguised Argene, much to his dismay. Amyntas, tutor to Lycidas, reports that Megacles has drowned himself, and King Cleisthenes, apprised of the deception, banishes Lycidas.

Act 3 Argene prevents the desperate Aristaea from suicide, Megacles is rescued by a fisherman, and Lycidas contemplates the assassination of the king. Aristaea pleads mercy for Lycidas and Argene offers herself in his place; as proof that she is a princess, she shows Cleisthenes a chain given her by Lycidas. He recognizes it as belonging to his son, abandoned in infancy to forestall the prophecy that he would kill his father. Lycidas, reinstated, accepts Argene, leaving his sister to Megacles.

21 – Antonio Vivaldi – Complete Opera –

L'oracolo in Messenia (Das Orakel von Messenia) – RV 726

Opera in 3 Acts Original language: Italian Pasticco with larger proportions of Vivaldi Playing time ca. 2 3/4 hours Premiere: December, 28 1737, Venice

Libretto by Apostolo Zeno

Cast Recording Europa Galante - Fabio Biondi, Julia Lezhneva (Soprano) - Trasimede, Ann Hallenberg (Mezzo Soprano) - Merope, Vivica Genaux (Mezzo Soprano) - Epitide, Romeina Basso (Mezzo Soprano) - Elmira, Franziska Gottwald (Mezzo Soprano) - Licisco, Xavier Sabata (Counter Tenor) - Anassandro, Magnus Staveland (Tenor) - Polifonte Recorded 2012

Roles: • Polifonte (Tenor) - king of Messenia • Merope (Mezzo Soprano) - Queen of Messenia • Epitide (Mezzo Soprano) - son of Merope (under the name of Cleon) • Elmira (Mezzo Soprano) - Princess of Etolia • Trasimede (Soprano) - chief minister of Messenia • Licisco (Mezzo Soprano) - ambassador fRome Etolia • Anassandro (Counter Tenor) - confidant of Polifonte

Synopsis:

The story is from a Greek myth. Merope is the queen of Messenia whose husband, Cresfonte, and her two children have been murdered by her brother in-law, Polifonte, who then usurps the royal power and attempts to force the queen to marry him. Act 1 Epitide, the youngest son of King Cresfonte and Merope arrives in Messenia disguised as Cleon. 10 years earlier his father and two older brothers were killed on the orders of the tyrant Polifonte. After his conquest of Messenia, Polifonte intends to marry his mother. Meanwhile the Messenians ask gods for help against a wild boar which causes terror and devastates villages. A prophesy read by Trasimede says that Messenia will shortly be liberated from not one but two monsters and that a noble born slave will be wedded to her virtuous rescuer. Cleon, a foreigner not known by anyone, volunteers to fight with the dangerous boar. Licisco, the ambassador of the kingdom of Aetolia asks for princess Elmira to be freed. He announces that Epitide who was supposed to escape to Aetolia had been killed on his way there by robbers. Merope realizes that she will not be able to avoid marrying Polifonte and that is why she plans to murder him. The vanquisher of the terrible boar is promised Elmira’s hand though she has long been in love with Epitide. Polifonte now commands Anassandro, his trusted slave who killed Cresfonte and kept in hiding until then, to disclose his identity and make it known that it was in fact Merope who ordered him to kill her own husband. Cleon hopes to see his beloved Elmira once again. Act 2 Cleon is introduced to Merope as the vanquisher of the boar but she fails to recognise him as her son, Epitide. She does not believe in the story of her son’s death and suspects that Cleon has something to do with it while he is jubilant about marrying his beloved Elmira. Anassandro confides in Merope and Trasimede that it was him who killed Cresfonte and that he wants to announce it officially. Trasimede fails to hide his love for Merope. Elmira accepts Cleon’s proposal, but initially does not recognise him as her beloved Epitide. Anassandro makes a public appearance and and again states that he killed Cresfonte but adds that he did that on Merope’s orders. The guards take hold of Merope while she protests and denies her being involved in the plot. Polifonte plans to kill Merope, but Cleon, Trasimede and Licisco discover his plans. Polifonte throws Anassandro into prison where the latter discovers that he has been used and betrayed in an awful way. Act 3 Polifonte discloses it to Elmira that Cleon is in fact Epitide, but insists that she should not tell Merope about it as she would kill him just like her husband and Epitide’s older brothers. Polifonte sentences Anassandro to death, but when bowmen arrive for the execution, Anassandro confesses to Licisco that it was Polifonte who issued the order to kill Crefonte. Licisco withdraws the bowmen. Polifonte asks Merope to speak again with Cleon and she agrees to do so but still she believes he is the murderer of her son, Epitide. She asks Trasimede to kill Cleon right after the meeting. The latter arrives and reveals his true identity to her, but she is still not convinced. Cleon asks Elmira for confirmation but she refuses. He leaves in despair. When Elmira finds out that Merope has issued the order to kill Cleon, she is horrified, because she refused to identify him to only protect him from his mother. It is only now that she Merope understands that Cleon is her youngest son, miraculously saved from the slaughter. Polifonte and Trasimede arrive and accuse the queen of another murder. Merope is driven to despair by Epitide’s death and finally charged by the whole court and sentenced to death. Polifonte orders that she be bound tied to Epitide’s dead body, which is hidden behind a curtain. When it is pulled up Epitide appears alive and with Elmira. He was saved by Licisco, who revealed the truth to Trasimede. As the situation is clear up, Polifonte is sentenced to death and Anassandro is sent to banishment. Merope and her son fall into each other’s arms, Epitide marries Elmira and becomes the king of Messenia.

22 – Antonio Vivaldi – Complete Opera –

Orlando finto pazzo (The fake Madman) – RV 727

Opera in 3 Acts Original language: Italian

Playing time ca. 3 hours Premiere: November, 10 1714, Venice, Teatro Sant'Angelo Libretto by Grazio Braccioli

Cast Recording Academia Montis Regalis-Alessandro de Marchi, Coro del Teatro Regio di Torino-Claudio Marino Moretti, Antonio Abete (Orlando) - Bass, Gemma Bertagnolli (Ersilla) - Soprano, Marina Comparato (Tigrinda) - Mezzo-Soprano, Sonia Prina (Origille) - Contralto, Manuela Custer (Argillano) - Mezzo-Soprano, Martin Oro (Grifone) - Counter-Tenor, Marianna Pizzolato (Brandimarte) - Mezzo-Soprano Recorded 2004

Roles: • Orlando (Bass) - ein Ritter im Dienste Karls des Großen / a knight in the service of Charlemagne • Brandimarte (Soprano castrato) - Orlando's Freund / Orlando's friend • Ersilla (Soprano) - Königin und Zauberin, genannt "la Campioli" / queen and sorceress, called "la Campioli" • Argillano (Contralto castrato) - Ersilla's Champion und heimlich in sie verliebt / Ersilla's champion and secretly in love with her • Tigrinda (Soprano) - eine Priesterin, verliebt in Argillano / a priestess, in love with Argillano • Grifone (Soprano castrato) - heimlich verliebt in Tigrinda / secretly in love with Tigrinda • Origille (Contralto) - verliebt in Grifone / in love with Grifone

Synopsis:

Orlando, a Paladin from the army of Charlemagne, falls in love with Angelica, who, however, loves Medoro. Fleeing from Orlando she comes to Alcina's magic island and tries to get rid of with the help of the sorceress Orlando. First, it is possible Angelica, Orlando to send in search of a magic potion that promises eternal youth. When Orlando learns on his return, that Angelica got married during his absence Medoro, he goes mad. Parallel to this action, the Crusaders Ruggiero and Bradamante lost his wife on the magic island. While Ruggiero Alcina's first succumbs to stimuli, Bradamante can free her faithless husband from the clutches of the sorceress and joins forces with the penitent Ruggiero revenge on Alcina. After Alcina's power is destroyed, Orlando defeated by the downfall of the enchantress his love delusions and waives Angelica. Act 1 Ersilla dedicates a sword to the destruction of Orlando, and entrusts the sword and mission to Argillano, who secretly loves her. Ersilla’s enemies, Brandimarte, Grifone and Origille spy on the rituals. As the ceremony ends, Tigrinda, priestess of potions, tries unsuccessfully to tell Argillano she loves him. Grifone follows Tigrinda, who he in turn secretly loves. Argillano challenges Grifone, who is protected by Origille – she pretends that he is her young sister, “Leodilla”. Origille, who is pledged to Grifone, challenges his obvious love for Tigrinda, then vows her revenge. Orlando defeats but spares Argillano, leaving the magic sword on the ground as he severs the golden branch, thus opening the way for everyone into Ersilla’s garden. Ersilla notices the sword, and infers Argillano’s defeat. As her fairies bewitch Orlando with their songs, Ersilla becomes smitten with Brandimarte, who uses this to rescue Orlando. Act 2 Grifone tries to capitalise on his reluctant disguise to get closer to Tigrinda by becoming her handmaiden. Origille, now disguised as a man, “Ordauro,” interrupts them. Ersilla ignores Tigrinda’s pleas for Argillano’s release (imprisoned because of his defeat,) but now smitten with “Ordauro”, releases him at “Ordauro’s” suggestion. Spurned by Ersilla, Argillano vows to betray her, and to gain an accomplice, falsely pledges his love to Tigrinda. On seeing Origille, Orlando blows his cover, but is neatly manoeuvred by Brandimarte into concealing his true identity by pretending to be mad, under the illusion that he is Orlando. Under cover of “madness,” Orlando tells the bizarre story of how Origille betrayed him last time they met. When Argillano disappears to warn Ersilla of his suspicions, Origille begs forgiveness, and Orlando acquiesces. Argillano tells Ersilla that “Leodilla” is Grifone, and she interrogates him. Grifone gives nothing away, and so is imprisoned. Act 3 Origille has smashed through Grifone’s prison wall with a pickaxe, and confronts him with her ardent love. Grifone’s pledges of love are rejected by Tigrinda, who then plots with a reluctant Argillano to poison Ersilla with a magic potion. Ersilla’s darkest ceremony fails to reveal Orlando’s true identity, so she conjures up a counterfeit Angelica to provoke him. Brandimarte again rescues Orlando, this time by pretending himself to be the warrior. Ersilla captures the two men, but is mortified to believe she loves her enemy. Orlando vows to abandon such deception in favour of honourable confrontation. Argillano rejects Tigrinda, who then drinks her own potion. Grief-stricken, Grifone, too poisons himself. Origille, seeing the corpse of her beloved, vows revenge. Orlando smashes his fetters, releases Brandimarte, and by destroying Ersilla’s castle, breaks all her spells. Grifone, Tigrinda, and all her other victims reawaken and are cured, Tigrinda is united with Argillano, Origille with Grifone, and all ends happily.

23 – Antonio Vivaldi – Complete Opera –

Orlando furioso (The furious Orlando) – RV 728

Opera in 3 Acts Original language: Italian

Playing time ca. 3 1/4 hours Premiere: November, 25 1727, Venice, Teatro San Angelo

Libretto by Grazio Braccioli, based on the eponymous epic poem by Ludovico Ariosto

Cast Recording

Ensemble Matheus-Jean-Christophe Spinosi, Cheur Les Éléments Marie-Nicole Lemieux (Orlando) - Contralt, Jennifer Larmore (Alcina) - Mezzo-Soprano, Veronica Cangemi (Angelica) - Soprano, Philippe Jaroussky (Ruggiero) - Counter-Tenor, Lorenzo Regazzo (Astolfo) - Bariton-Bass, Ann Hallenberg (Bradamante) - Mezzo-Soprano, Blandine Staskiewicz (Medoro) - Mezzo-Soprano Recorded 2005

Roles:

• Orlando (Mezzo Soprano or Bariton) - verliebt in Angelica / in love with Angelica • Angelica (Soprano) - Geliebte und dann Frau von Medoro / mistress and then wife of Medoro • Alcina (Mezzo Soprano) - Zauberin, verliebt in Ruggiero / sorceress, in love with Ruggiero • Bradamante (Mezzosoprano or Alt) - heiratet Ruggiero, dann in Männerkleidung unter dem Namen Alderico / Wedding Ruggiero, then dressed as Men under the name of Alderico • Medoro (Mezzo Soprano or Tenor) - Liebhaber dann Ehemann von Angelica / lover then husband of Angelica • Ruggiero (Counter tenor or Bariton) - Ehemann von Bradamante / husband of Bradamante • Astolfo (Bass) - verliebt in Alcina / in love with Alcina

Synopsis:

Alcina's island, unknown time

On the magic island of Alcina all meet: heroes, lovers, Happy and Rejected. Orlando loves Angelica. But she loves Medoro, who returns her love. Fleeing from Orlando, the couple loses sight. Angelica asks the sorceress Alcina to help. This promises to bring together the two lovers again. Orlando arrives on Alcina's island. He wants to break their spell power by stealing her the urn of the magician Merlin. Then, the prophecy that he will be lucky in love. In the battle for fulfilled love Alcina intervenes with her magic powers always a, directs and confused feelings. Astolfo, Orlando's cousin is forfeited by magic Alcina. Alcina seduces Ruggiero, who then no longer recognizes his wife Bradamante. Angelica tries to kill Orlando, he survived. When he hears of the wedding Angelica with Medoro, he goes mad.

Act 1

In a delightful garden in which two springs are seen, Medoro escapes from a shipwreck into the arms of his beloved Angelica. Alcina magically helps Medoro and he recounts how he was first captured, then shipwrecked. Orlando is jealous of Medoro, but Angelica lies and says Medoro is her brother. Alcina is attracted to the knight Ruggiero. She uses her magic to make him forget Bradamante and love her instead. Bradamante discovers Ruggiero's "betrayal." She shows him the ring he gave her therefore breaking Alcina's spell. Ruggiero feels guilty by his actions.

Act 2

In a grove with green secluded spots, Astolfo reflects how he loves Alcina, but is tormented by her unfaithfulness. Meanwhile, in a mountainous alpine region with a high, precipitous cliff, Angelica and Medoro swear their love and part ways. To rid herself of Orlando, Angelica sends him to fight a monster who guards an elixir of youth. Orlando enters a cavern and is trapped. Realizing Angelica's faithlessness, he digs his way out. Angelica and Medoro marry in a countryside at the foot of a hill. They carve their vows on a nearby tree. Orlando finds the tree, and on reading the inscription, becomes furious that he starts destroying the trees.

Act 3

The place is at the Entrance Hall before the Temple of Hecate. Astolfo believes Orlando dead. With Ruggiero and Bradamante, he plots revenge against Alcina. The secret of Alcina's power lies in an urn, which is locked in the temple of Hecate. They await Alcina's return. Inside the temple of Hecate, Bradamante disguises herself as a man. Alcina falls in love with her. Orlando, still raving mad about the marriage of Angelica and Medoro, fights with the temple statues, inadvertently destroying Alcina's power. In a deserted island. Alcina tries to attack the sleeping Orlando, but is prevented by Ruggiero and Bradamante. Astolfo returns to arrest Alcina. Orlando regains his reason and forgives Angelica and Medoro.

24 – Antonio Vivaldi – Complete Opera –

Ottone in Villa – RV 729

Opera in 3 Acts Original language: Italian

Playing time ca. 2 1/4 hours Premiere: May, 17 1713, Vicenza, Teatro delle Grazie Libretto by Carlo Francesco Badini

Cast Recording Il Giardino Armonico-Giovanni Antonini Sonia Prina (Ottone) - Contralto, Julia Lezhneva (Caio Silio) - Soprano, Verónica Cangemi (Cleonilla) - Soprano, Roberta Invernizzi (Tullia) - Soprano, Topi Lehtipuu (Decio) - Tenor Recorded 2010

Roles: • Ottone (Mezzo Soprano) - Römischer Kaiser / Romean emperor • Cleonilla (Soprano) - Geliebte des Kaisers Ottone / Mistress of Emperor Ottone • Caio Silio (Soprano) - hübscher junger Mann, in Cleonilla verliebt / Handsome young man, in love with Cleonilla • Decio (Tenor) - Ottones Vertrauter / Ottone's confidant • Tullia (Soprano) - verliebt in Caio / in love with Caio

Synopsis:

Act 1

Ottone is besotted with the beautiful Cleonilla. She reveals that, despite being loved by the Emperor, she finds it impossible to resist the attractions of other handsome young men. One such old flame was Caio Silio, but he has recently been replaced in her affections by her new page, Ostilio. Cleonilla leaves Caio in the belief that she is still in love with him, although she now finds Ostilio even more attractive. Ottone arrives. He asks Caio to help him win Cleonilla over. Tullia now enters. Formerly betrothed to Caio, she has followed him disguised as a man and is, in fact, none other than Ostilio. “Ostilio” asks Caio if he still remembers his betrayal of the unfortunate Tullia. Caio declares his love for Cleonilla, which leads “Ostilio” to seek revenge. Decio, Ottone’s faithful advisor, interrupts Ottone and Cleonilla to report to the Emperor that Rome is unhappy at his absence. Ottone is unconcerned, but Decio tells Cleonill a that she is deceiving herself if she believes that the love of a king can make up for the lack of true honor. As Decio departs, “Ostilio” arrives and Cleonilla immediately declares her love for him. “Ostilio” seizes on this as a means for revenge against Caio and encourages Cleonilla to swear an oath of love for him and abhorrence of Caio. Caio, who has overheard all this, resolves to reveal “Ostilio’s” treachery to the Emperor.

Act 2

Decio warns Ottone that the affair with Cleonilla is ruining his reputation in Rome, but Ottone crossly ignores him. Alone, Decio reveals that he has not told the Emperor of the affair between Cleonilla and Caio, but when Caio enters he does not explain why Ottone is in a rage. Caio, believing himself alone, sings of his unhappiness at Cleonilla’s perfidy, but is overheard by Tullia, who mocks his words with taunting echoes. When Caio has left, she emerges and sings of the pull between love and rage that assails her heart. In a rustic lodge, Cleonilla admires herself in a mirror. Caio arrives, but his words of love are brushed away. He hands Cleonilla a letter he has written to express his feelings, but at that moment Ottone enters, snatches the letter and reads it. He assumes (rightly) that Caio is his rival, but Cleonilla quickly persuades him that the letter was meant for Tullia and that Caio was simply soliciting Cleonilla’s aid in regaining her. Ever credulous, Ottone accepts the explanation, and Cleonilla, warming to the deception, asks him to deliver a second letter to Tullia, this time from her, in which she instructs Tullia to take Caio back. Ottone a grees. Decio enters and makes another attempt to call Ottone back to his duty, but is once more rebuffed. Ottone calls for Caio, and chides him. Caio thinks at first that Ottone has discovered his love for Cleonilla, but in fact the Emperor complains only that Caio went to Cleonilla for help over Tullia instead of to him. Caio wonders at Cleonilla’s cunning. The Act ends with Tullia alone, begging Love to fly to her assistance.

Act 3

For one last time, Decio tries to persuade Ottone to give up Cleonilla or face the wrath of Rome, but Ottone wants only happiness in love. Cleonilla and Caio enter, she ignoring his protestations of love. When Ostilio/Tullia appears, she makes her feelings clear with words of love for ‘Ostilio’ and scorn for Caio. Caio pretends to leave, but in fact hides, and when ‘Ostilio’ appears to encourage Cleonilla’s advances, rushes out and threatens him with a dagger. Hearing Cleonilla’s cries, Ottone and Decio appear, and Caio tells them of the amorous scene he has just witnessed between Cleonilla and Ostilio. Enraged, Ottone orders him to go ahead and kill Ostilio, but it is at this point that ‘Ostilio’ removes his disguise and stands revealed as Tullia. She declares that Cleonilla is innocent, and accuses Caio of being the guilty one. The impasse ends when Ottone decrees that Caio and Tullia must marry, and asks Cleonilla for forgiveness. A relieved Cleonilla inwardly resolves to lead a better life in future, and all rejoice.

25 – Antonio Vivaldi – Complete Opera –

Rosmira Fedele – RV 731

Opera in 3 Acts, Pasticcio Original language: Italian

Playing time ca. 2 3/4 hours Premiere: January, 27 1738, Venezia, Teatro Sant'Angelo Libretto by Leo Stampiglia

Cast Recording

Ensemble Baroque de Nice-Gilbert Bezzina Rossana Bertini - Soprano, Claire Brua - Mezzo-Soprano, Jacek Laszczkowski - Soprano, John Elwes - Tenor, Marianna Pizzolato - Mezzo-Soprano, Philippe Cantor Bass-baritone, Salome Haller Soprano, Vera Elliott Continuo Recorded 2003

Roles:

• Rosmira (Contralto) - verkleidet als Eurimene / disguised as Eurimene • Partenope (Contralto) - Königin von Neapel / Queen of Naboli • Arsace (Soprano) - ein Freier von Partenope / a suitor of Partenope • Ersilla (Soprano) - Prinzessin von Zypern / Princess of Cyprus • Emilio (Bass) - ein weiterer Freier von Partenope / a other suitor of Partenope • Armindo (Soprano) - ein weiterer Freier von Partenope / a other suitor of Partenope • Ormonte (Soprano or Tenor)

Synopsis:

The opening sinfonia was composed by Micheli, and consisted of three full movements. The rest of the set pieces were taken from works by Antonio Mazzoni, G.F. Handel, Pergolesi, Hasse, Vinci, and others. The aria borrowed from Handel was "Già risonar," taken from his opera Ezio.

The plot involves mezzo Queen Partenope and her suitors, soprano Arsace and male soprano Armindo. Soprano Rosmira arrives, disguised as Eurimene; she had previously been betrothed to and abandoned by Arsace. Arsace discovers her identity, re-declares his love, but soon waffles back to his love for Partenope, promising Rosmira he will not reveal who she really is. At any rate, through a series of insults and mis-adventures Rosmira-as-Eurimene challenges Arsace to a duel on Rosmira’s behalf, since he had pledged himself to her.

As the duel is about to begin, Arsace, who neither wants to fight a woman nor give away Rosmira’s true identity, insists that the duel be fought bare-chested. Ergo, Rosmira must reveal herself (how old-fashioned!), and the opera ends with Rosmira and Arsace back together, Partenope with Armindo, and a minor couple, bass Emilio (actually another one of Partenope’s suitors, but never mind) and soprano Ersilla (a Princess) rounding out the merriment.

The drama, as usual in Baroque opera, is in the emotions in each aria (da capo) and in the recitatives.

26 – Antonio Vivaldi – Complete Opera –

La Silvia (lost - incomplete) – RV 734

Opera in 3 Acts Original language: Italian

Playing time ca. 1 1/4 hours Premiere: August, 28 1721, Milan, Teatro Regio Ducale Libretto by Enrico Bissarri - für Elisabeth Christine of Brunswick-Wolfenbüttel

Cast Recording

Ensemble Baroque de Nice-Gilbert Bezzina Roberta Invernizzi - Soprano, Gloria Banditelli - Mezzo-Soprano, John Elwes - Tenor, Philippe Cantor - Bass Recorded 2000

Roles:

• Silvia (Soprano) • Elpino (Soprano) • Tirsi (Alto castrato) • Nerina (Soprano) • Egisto (Tenor) • Faustulo (Bass) • Chor / Chorus

Synopsis:

It was first performed on 28 August 1721 at the Teatro Regio Ducale in Milan on the occasion of the birthday celebrations of the Austrian Empress Elisabeth Christine, wife of Emperor Charles VI of Austria. Bissari's text had originally been written in 1710 as a play for Princess Teresa Kunegunda Sobieska, second wife of the Bavarian elector Maximillian II Emmanuel.

To complete the existing fragments other works by Vivaldi have been used:

Aria: Se fido rivedrò l'oggetto (RV 749.21) aus Medea e Giasone Aria: Par che risplenda un raggio (RV 749.23) aus Medea e Giasone Aria: Orribile lo scempio aus Tito Manlio (RV 738) Sinfonia für Streicher und basso continuo in C major (RV 112) Concerto für Streicher und basso continuo in Bb (RV 162)

Il Teuzzone – RV 736

Opera in 3 Acts Original language: Italian

Playing time ca. 3 1/2 hours Premiere: 1706, Mantua , Teatro Arciducale

Libretto by Apostolo Zeno

Cast Recording Orchestra dell'Opera Barocca del Teatro di Guastella-Sandro Volta Mauro Pagano-Tenor, Maurizia Barazzoni-Soprano, Fernanda Piccini-Contralto, Susanna Bortolanei-Contralto, Angelo Manzotti-Sopranista, Marcello Lippi-Bass, Andrea Favari-Bass Recorded 2002

Roles: • Troncone (Tenor) - Emperor of China • Teuzzone (Soprano) - his son, in love with and betrothed to Zelinda • Zidiana (Contralto) - bride but not wife of Troncone, secretly in love with Teuzzone • Zelinda (Contralto) - Tartar princess, in love with Teuzzone • Cino (Soprano castrato) - governor of the realm, in love with Zidiana • Sivenio (Bass) - General, a general of the realm, in love with Zidiana • Egaro (Alto castrato) - captain of the guards, relative and confidant of Zidiana • Argonte (Tenor) - Tartar prince and confidant of Zelinda • Chor / Chorus - soldiers, guards and people

27 – Antonio Vivaldi – Complete Opera –

Synopsis:

Act 1

The victory was won, but paid with his life. Mortally wounded Troncone is on the battlefield, leaving as heir his son Teuzzone the throne of the Chinese Empire. The First Minister Cino and the General Sivenio in his last hours with him and take his will on record. In the Imperial Palace sits the beautiful young widow Zidiana and forges their plots. In her heart she carries a secret passion for his step-son, who still originates from the time before she became empress. It is considering a remarriage with him without considering that Teuzzone the Tatar princess Zelinda feels connected. The Empress Dowager has two admirers, the First Minister Cino and the General Sivenio who want to use the sublime to enforce their own claims to power. Sivenio is the larger schemer. First is the Minister who wants to marry Zidiane like and rule with her, help to make the Crown Prince safe, then it is even their turn. With hypocritical promises the Dowager Empress holds out both because they are still needed to consolidate its power. The pompous funeral of the Emperor shall be the occasion to proclaim the prince who is generally regarded as heir apparent to succeed simultaneously. Teuzzone swears his love and fidelity Zelinda public and wants to marry her as soon as the funeral is over. But the two corrupt courtiers have forged with knowledge of the Empress Dowager's will, and she takes control. The people promises devotion. Teuzzone feels deceived, suspect deceit and swears vengeance. The Empress can arrest the rebels at first, but is undecided as to control the further development of the situation. Zelinda goes on the defensive and implores as high priestess of the god Amida counsel and strength. As intermediary in the unfortunate Teuzzone she goes in audience the Empress and gaining their trust. The Highness Full manifesteth her that they do not operate the execution of her stepson, but she wants to put him as her husband on the throne. At the moment, still bound constraints, she will gain time. Zidiana is not aware of what they are doing to the fiance Teuzzones with this revelation. From the news dismayed Zelinda but hides her jealousy.

Act 2

Teuzzone, released at the request of the Princess again, commits the imprudence to meet the him the happened injustice by force of arms. As anticipated by Zelinda, bravery has not been enough to carry off a victory, and the prince is arrested again. Cino and Sivenio would see it best when he immediately would get his head chopped off, but the Empress is reluctant to sign the death warrant. Finally she even decide to suspend the execution. Affable leaves the Empress the secret lover to summon a final meeting, in which Zelinda be there. In anticipation of his final destiny Teuzzone misjudges the situation completely. The amorous advances, which made his stepmother him, he spreads out in public. He is unable to control himself, and he stirs up the jealousy of the hard offended by emphasizing his passion for the Tartar princess. He would never be necessary to marry his stepmother, even at the cost of his life. The Empress is sufficient: She is ready to sign the death warrant. Again, it is possible Zelinda in a last desperate attempt to soften the hearts of the rival. She is willing to let go of the prince and encouraged him to yield to the wishes of the Empress of a marriage. So much generosity not to Zidiana remains without effect. Boss she begins to hope again and allocates the stay of the execution.

Act 3

Although Cino feels remorse about the result of his intrigues, he is confident that Teuzzone will overtake his fate soon and is free for him the way, to sit as a husband to the side of the Empress on the throne. This illusion destroyed him Zelinda, it is possible to convince him of Sivenios dishonesty. The Outraged calls the former accomplices to a duel. At the sound of the weapons the Empress rushes and attempts to calm the two opponents with a surprising proposal. It refers to the ancient custom, that it is the sovereign allowed to have multiple spouses at the same time. That is why she finds it legitimate that she can take this imperial privilege claim as absolute ruler, two spouses to marry at the same time. Cino is irritated and embittered. The proposal fills him with uneasiness, for he is not inclined to share wife and rule with the dude. Sivenio other hand, acts as if he could find the idea good, because old habits should you uphold. You have to be able to overcome moral reservations. In an underground prison Teuzzone being held. He's too stubborn to understand his predicament and suffering from loss of reality. The pleading Zelindas not touch him, and clemency is not an option for him. Rather, he will die. The Empress speculates now that Zelinda she betrays and condemns them to share the fate Teuzzones. Before being arrested, he manages the princess, the Tartar General Argonte to send a message. Soon we will be celebrating the Spring Festival, and as pompous liner and climax of the rite of human sacrifice are provided. The Empress thought to include the execution of the two lovers in the program. In Cino conscience kicks. He does not hold by the pressure and closes already in mind with the life from. Previously, he gains the ear of the people, and declared that the text of Troncones Testament is fake and belongs to the throne in reality Teuzzone. General Argonte has hastened and is on hand to deliver justice to victory. The lovers are freed from prison and take a seat on the imperial throne. The unexpected turn of events makes the rulers buttery soft, and he forgives all, which is situated on a pardon. Zidiana apologizes for her misbehavior, but Sivenio shows no remorse. Therefore, he must serve a life sentence.

28 – Antonio Vivaldi – Complete Opera –

Tito Manlio – RV 738

Opera in 3 Acts Original language: Italian

Playing time ca. 3 1/4 hours Premiere: 1719, Mantua, Teatro Arciducale

Libretto by Matteo Noris

Cast Recording Accademia Bizantina-Ottavio Dantone, Nicola Ulivieri (Tito) - Bariton-Bass, Karina Gauvin (Manlio) - Soprano, Ann Hallenberg (Vitellia) - Mezzo-Soprano, Marijana Mijanovic (Vitellia) - Contralto, Debora Beronesi (Lucio) - Mezzo-Soprano, Barbara di Castri (Decio) - Mezzo-Soprano, Mark Milhofer (Gemino) - Tenor, Christian Senn (Lindo) - Bariton-Bass Recorded 2008

Roles: • Tito Manlio (Bass-Bariton) - Romean consul • Manlio (Soprano) - his son, lover of Servilia • Servilia (Mezzo Soprano) - sister of Geminio, Tito's financee • Vitellia (Contralto) - Tito's daughter, lover of Geminio • Lindo (Bariton) - a servant of Vitellia • Lucio (Soprano) - Tito's financee, leader of the Latins, lover of Vitellia • Geminio (Tenor) - a leader of Latin forces, lover of Vitellia • Decio (Mezzo Soprano) - Romean certurio • Chor / Chorus

Synopsis:

Act 1

The opera is set in the country villa of the Roman Emperor Ottone, with its delightful gardens containing avenues of cedars, ponds and fountains. Ottone is besotted with the beautiful Cleonilla, who is revealed as the opera opens 'gathering flowers to adorn her bosom'. She reveals that, despite being loved by the Emperor, she finds it impossible to resist the attractions of any handsome young man. One such old flame was Caio Silio, but he has recently been replaced in her affections by her new page, Ostilio. Cleonilla protests to Caio that she still loves him, although an aside reveals that she now finds Ostilio even more attractive! Ottone arrives, looking forward to forgetting weighty affairs of state in his beautiful surroundings, but Cleonilla teases him, claiming that he cannot truly love her as he spends so little time with her. Ottone asks Caio to help him cure her jealousy, while Caio marvels at the Emperor's credulity. Tullia now enters. Formerly betrothed to Caio, she has followed him disguised as a man and is, in fact, none other than Ostilio. 'Ostilio' asks Caio if he still remembers his betrayal of the unfortunate Tullia. Caio, while noting the striking resemblance of the page to Tullia, does not guess the truth; he declares that his new love for Cleonilla has driven Tullia from his mind, quest ioning in his ensuing aria the merits of constancy, since 'love becomes a burden without variety'. 'Ostilio's' thoughts turn to revenge. The scene changes to a bathing-pavilion, where Cleonilla is emerging from her bath. She is still teasing Ottone, but they are interrupted by Decio, Ottone's faithful advisor, who tells the Emperor that Rome is unhappy at his absence. Ottone is unconcerned, but, when he has left, Cleonilla quizzes Decio on what they are saying about her in Rome. Decio has no time for her lasciviousness, and his aria, whose text replaces that found in the printed libretto, tells her that she is deceiving herself if she believes that the love of a king can make up for the lack of true honour. As Decio departs, 'Ostilio' arrives, and Cleonilla immediately declares her love for him. He seizes on this as a means for revenge against Caio and encourages Cleonilla to swear an oath of love for him and abhorrence of Caio. Caio, who has overheard all this, is horrified, and he resolves to reveal her treachery to the Emperor, ending the act with a fiery aria describing his jealousy and bitter grief.

Act 2

In a delightful sunken garden, Decio warns Ottone that Cleonilla will be his downfall, for Rome disapproves of her numerous well - known affairs. Ottone is astounded, and, in a typical 18th - century simile aria, likens his turbulent feelings to being tossed about on a stormy sea. Decio reveals that he deliberately refrained from telling the Emperor that Caio is his rival, but he will not explain to Caio what has upset Ottone so much. Caio, apparently left alone, muses on his misery, but he is overheard by the hidden Tullia who responds to him in the manner of an echo. The echo, claiming to be the voice an unhappy spirit, torments Caio, whose distraught feelings are portrayed in a short section of accompanied recitative and the ensuing echo aria. 'Ostilio' now reveals himself and sings of the conflict in his heart between the 'two tyrants', indignation and love.

29 – Antonio Vivaldi – Complete Opera –

The scene changes to a rustic lodge, where Cleonilla is admiring herself in a mirror. Caio enters, but his protestations of love are casually dismissed. He gives her a letter declaring his feelings, but, as she is about to read it, Ottone arrives and snatches it from her. He reads that Caio is his rival, but Cleonilla tells him that Caio has simply given her the letter to pass on to its true addressee, Tullia, who has been unfaithful to him. The gullible Ottone believes her, and she adds to her deception by writing a second letter – her own appeal to Tullia – which she asks Ottone to deliver. Decio arrives with further news of plotting in Rome, but Ottone still will not hear a word against Cleonilla, and he sends for Caio. He chides the guilty Caio, who initially believes that the game is up but then realises, to his great relief, that Ottone is annoyed not because her has discovered the affair with Cleonilla but simply because Caio sought Cleonilla's help instead of turning to his Emperor. Left alone, Caio is impressed by Cleonilla's cunning, while in the act's final scene the distraught 'Ostilio' begs Love to come to his aid.

Act 3

On a secluded, leafy path, Decio once again tries to persuade Ottone of the danger he faces from Rome, but the Emperor declares in his aria that he cares nothing for throne or empire, so long as he has happiness in love. Decio prophesies the Ottone's imminent downfall, for love in a ruler is a sign of weakness, but he is interrupted by the arrival of Cleonilla and Caio. She is still ignoring the latter's advances, and when 'Ostilio' appears she addresses alternate words of love to him and rejection to Caio. Caio pretends to take her advice and leave, but in fact he conceals himself. Cleonilla continues to protest her love for 'Ostilio', who encourages her in his aria while revealing in an aside that she is making a mistake. The sight of the pair embracing is too much for Caio, and he rushes at 'Ostilio' with a dagger. Cleonilla's cries alert Ottone and Decio, whose entry provokes an explanation from Caio. He describes the scene that he has just witnessed – Cleonilla and 'Ostilio' kissing and embracing – and the shocked Emperor commands him to complete his task and kill the traitor. 'Ostilio' offers to explain, however, and, removing his disguise, reveals himself as the wronged Tullia. Now in her true guise, she professes Cleonilla's innocence and accuses Caio of being the real traitor. All are astonished, although Ottone regains his composure with remarkable rapidity, expressing his desire to see Caio and Tullia married and asking Cleonilla for forgiveness. The opera ends with an ensemble of general rejoicing.

La verita in cimento (Truth put to the test) – RV 739

Opera in 3 Acts Original language: Italian

Playing time ca. 2 1/2 hours Premiere: 1720, Venice

Libretto by Giovanni Palazzi & Domenico Lalli

Cast Recording

Ensemble Matheus - Jan-Christophe Spinosi Gemma Bertagnolli (Rosane) - Soprano, Guilemette Laurens Rustena) - Mezzo-Soprano, Sara Mingardo (Melindo) - Contralt, Nathalie Stutzmann (Damira) - Contralt, Philippe Jaroussky (Telim) - Counter-Tenor, Anthony Rolfe Johnson (Mamud) - Tenor Recorded 2002

Roles:

• Sultan Mamud (Tenor) - Sultan • Rosane (Soprano) - Heiress of another Sultanate • Rustena (Mezzo Soprano) - ex-mistress of the Sultan • Melindo (Contralto) - son of the Sultan • Damira (Contralto) - favourite wife of the Sultan • Zelim (Soprano [castrato]) - son of the Sultan, in love with Rosane • Chor / Chorus

Synopsis:

To all intents and purposes, everything in the family of the patriarch Mamud is just as it should be. The family is prosperous and relationships are clear. The two women at Mamud’s side, his wife and ex-mistress, have come to terms with one another. Now adults, the sons Mamud has sired with the women are interested in acceding to their father’s powerful legacy. There is even a young beauty waiting as a good match for the heir. However, the head of the family suddenly wants to get the great lie of his life off his chest: Mamud swapped his two sons at birth in order at least to give his rejected mistress the satisfaction of knowing that her child, and not that of her rival, would grow up as the heir. The scandalous news plunges all the members of the family into a serious identity crisis, a storm of intrigue, hysteria and despair. La verità in cimento – the truth on trial.

30 – Antonio Vivaldi – Complete Opera –

Il Tigrane (Fragment) – RV 740

Opera in 3 Acts, Pasticco, only Act 2 by Vivaldi Original language: Italian

Playing time ca. 1 1/4 hours Premiere: 1724, Romee, Teatro Capranica

Libretto by Francesco Silvani

Cast Recording

Savaria Baroque Orchestra - Pál Németh Artur Stefanowicz (Tigrane) Counter-Tenor, Timothy Bench (Mitridate) - Tenor, Mónika González (Cleopatra) Soprano, Zsolt Molnár (Oronte) - Bariton, Ildikó Szakács (Apamia) - Soprano, Barnabás Hegyi (Clearte) - Counter-Tenor, László Jeki (Arbate) - Bass Recorded 2004

Roles:

• Tigrane (Counter Tenor) - Känig von Armenien / King of Armenia • Mitridate (Tenor) - König von Pontus / King of Pontus • Cleopatra (Soprano) - Tochter von Mitridate / daughter of Mitridate • Oronte (Bariton) - Diener / Servant • Apamia (Soprano) - Prinzessin von Sinope / Princess of Sinope • Clearte (Counter Tenor) • Arbante (Bass) • Chorus

Synopsis:

The original 'Il Tigrane' was composed by the trio of Benedetto Michell (Act 1), Antonio Vivaldi (Act 2), and Nicola Romealdi

(Act 3). While the libretto has surived, the music of the first and third acts are lost.

The composers dedicated the opera to the Pope’s niece, Faustina Mattei Conti Guadagnolo.

Tigranes, king of Armenia, and Mithridates, King of Pontus, are enemies. However, Tigranes is in love with Cleopatra, daughter of Mithridates. Therefore Tigranes appears under the pseudonym Farnace in the army of Pontus, is there commander and wins a glorious victory. Besides Cleopatra now Apamia, Princess of Sinope, also fall in love to Tigranes, but rejected by him, she married Mithridates. After his confession to Cleopatra, who is he really, Tigranes get Cleopatra as his wife.

Then the peace between Armenia and Pontus is restored.

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