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Antonio Vivaldi (1678 - 1741): "Arie Per Tenore"

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Antonio Vivaldi (1678 - 1741): GBOPERA opera magazine http://www.gbopera.it Antonio Vivaldi (1678 - 1741): "Arie per tenore" Topi Lehtipuu (tenore), I Barocchisti, Coro della Radiotelevisione svizzera, Diego Fasolis (direzione) La fatal sentenza (Tito Manlio, 1720); La tiranna avversa sorte (a) (Arsilda regina di Ponto, 1716); Non sempre folgora (La costanza trionfante, 1716); Va per selve e sol pien d'ira (Arsilda regina di Ponto); Care pupille (Tigrane, 1724); Col furor ch'in petto io serbo (L'incoronazione di Dario, 1717); Cessa tiranno amor (L'incoronazione di Dario); La tiranna avversa sorte (b) (Arsilda regina di Ponto); Cada pur sul capo audace (Artabano re de' Parti, 1718); Va superbo quel vassallo (Arsilda regina di Ponto); Fido amante - frammento strumentale (L'incoronazione di Dario); Il figlio, il reo (Tito Manlio, 1720); Già lasciò la nobil salma (Tito Manlio); Vinta a piè d'un dolce affetto (b) (La verità in cimento, 1720); Accompagnato: Nume tu che di Tempe...; Coro: Gemiti e lagrime (Dorilla in Tempe, 1726); Alle minacce di fiera belva (Farnace, 1738); Recitativo: Andiam Prence, seguiamla...; Aria: A' suoi piedi Padre esangue (Dorilla in Tempe); Concerto ripieno RV 110. Registrazione: aprile e maggio 2010, Auditorio Stelio Molo, Radiotelevisione svizzera, Lugano (Svizzera) 1 cd Naïve OP 30504 La Vivaldi Edition della Naïve si arricchisce di un nuovo interessante capitolo. Una raccolta di arie per voce di tenore che Vivaldi dedicò a questo registro vocale in un arco di tempo che va dal 1716 (Arsilda regina di Ponto) al 1738 (nuova versione del Farnace). Tre decenni nei quali, il Prete rosso incrociò celebri, ma anche sconosciuti tenori allora in attività. In un periodo in cui furoreggiavano i castrati, Vivaldi manifestò un convinto interesse per la voce di tenore, utilizzandola per più di un ruolo nella stessa opera, o anche in ruoli rilevanti o di vero protagonista. Partendo da Annibal Pio Fabbri (Arsilda e L'Incoronazione di Dario), fino a Michele Caselli (Farnace, Siroe re di Persia), passando per Antonio Barbieri (La verità in cimento), Giovanni Paita (Tito Manlio), Carl'Antonio Mazza (La costanza trionfante), Lorenzo Moretti (Dorilla in Tempe) e Marc'Antonio Mareschi (Bajazet), Vivaldi compone un florilegio di arie che, oltre a far brillare le qualità tecniche e vocali del cantante secondo il gusto dell'epoca, esprimono i vari "affetti" in arie di "di furore", dalla quelle caratterizzate da una marcata scrittura virtuosistica a quelle di intimo patetismo. Venendo all'esecuzione del cd, è ovvio che trovare in unico cantante le diverse caratteristiche vocali degli interpreti vivaldiani è pressochè impossibile, anche se possiamo azzardare che il Rockwell Blake dei bei tempi d'oro, avrebbe fatto meraviglie in questi brani. Il tenore australiano d'origine finlandesi Topi Lehtipuu è nitido nella dizione, sfoggia un fraseggio incisivo, la voce non è bellissima, forse, ma ben timbrata. A volte apre i suoni, ma nell'insieme è elegante e piacevole, espressivo, soprattutto nelle arie "patetiche"( ad es. Care pupille da Tigrane, o Cessa tiranno amor da L'incoranazione di Dario). L'interpretazione de "I Barocchisti" diretti da Diego Fasolis è vigorosa è mordente, ma sa anche benissimo esprimere e contraddistinguere i colori "eroici" e quelli "lirici". Molto valido anche il contributo del Coro della Radiotelevisione della Svizzera italiana. 1 / 1 Powered by TCPDF (www.tcpdf.org).
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