Arsilda, Regina Di Ponto is Vivaldi’s fourth opera. First performed in at Teatro Sant’Angelo in Venice, its author’s ambition was to establish his nascent. Antonio Vivaldi composed Arsilda, Regina di Ponto for the Venetian theater of Sant’Angelo in the fall of While Vivaldi had, by its debut. Antonio Vivaldi – Arsilda, Regina di Ponto Slovak National Theatre, Bratislava – Václav Luks, David Radok, Lucile Richardot, Olivia.

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Vivaldi: Arsilda, Regina di Ponto

Mary Macklem University of Central Florida. Overall, this is a fine achievement; but how our traveller longs for the oasis of a love duet!

The all-time greats Read about the artists who changed the world of classical music. Moreover, its story hinges on concealed identities. More information about this can be found here.

The translation of the libretto and notes stand up, ar. Lisea and Tamese are the twin children of the queen of Cilicia.

But a number of operas-some familiar, others forgotten-are neither of these. According to the New Grove OperaLalli was responsible for the first comic opera to be seen in Venice; to judge from Arsildahe furnished a link between the Shakespearian juxtaposition of seriousness and comedy in Monteverdi and Cavalli, and the formality, derived from Corneille and Racine, of opera seria. Viivaldi, regina di Ponto. This recording features the Baroque orchestra of Modo Antiquo, an ensemble with particular expertise in the music of Vivaldi and his contemporaries.

Proof that new work, like good wine, needs to settle and mature to reveal its riches. We normally think of operas as being serious or comical.

Naxos Javascript not enabled. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country. Many of the arias employ striking instrumentation to help convey the sense of the text.


Vivaldi Arsilda Regina di Ponto, RV |

They have also performed at many European early music festivals, including the Italian festival Opera Barga, for which this production of Arsilda was prepared in Superlative Lohengrin from Bayreuth, The names of Belfast-born soprano Heather Harper and Kansas-born tenor James King may not resonate for younger music lovers, but they sure do for folks my age. Fipple-flutes are used for pastoral settings, for example, while horns are used for the hunting scenes.

Retrieved from ” http: Founded in under the direction of Sardelli, the group has made several recordings with Amadeus, cpo and Tactus, including the first complete recording of Vivaldi’s cantatas. The music in this recording is based on the autograph of the work and is described as a “reconstruction of the original version” that emphasizes the first arias written rather than the composer’s later changes and additions for the performances. The libretto was by Domenico Lalli, who had provided the words for Ottone in Villa three years earlier, inand was to collaborate with Vivaldi on several later operas.

Arsilda, regina di Ponto, RV 700 (Vivaldi, Antonio)

Copyist Johann Georg Pisendel Skip to main content. Opera seria ; Theatrical Works ; Operas ; For voices, orchestra ; Scores featuring the voice ; Scores featuring the orchestra ; For voices with orchestra ; Librettos ; Writings ; Italian language. Her own aria at the end of Act 1 features two obbligato harpsichords, to charming effect. Simile arias appear in abundance, such as Arsilda’s Act 2, sc. A Florence Version of incomplete B Version of ?

Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams.


Opera Today : VIVALDI: Arsilda, Regina di Ponto

Send to a friend Send a link to this article to a friend with an optional message. The story is complex and wholly unbelievable.

Gramophone products and those of specially selected partners from the world of music. While at times the sound quality of the recording could be more focused, with low frequencies at times overwhelming the vocal lines and occasionally making comprehension of the text difficult, the recording overall gives wonderful insight into Vivaldi’s characterizations and skill at both instrumental and vocal writing.

Hence, the edition is public domain in its country of origin or a government publication. While Vivaldi had, by its debut, arsildw an important member of Venetian musical culture for over a decade as a violinist and composer, he had begun composing only three years earlier.

All of the singers on this recording convey the individual characterizations with knowledgeable awareness of performance practice and attention to phrasing, dynamics, and ornamentation. In early OctoberGioachino Rossini summoned the librettist Gaetano Rossi to a villa owned by his wife, the soprano Isabella Colbran in Castenaso, just outside Bologna.

Edward Elgar’s Sea Pictures are extremely well-known, but many others are also worth hearing. There is, therefore, a relative dearth of recordings of his operas, and any contribution is appreciated. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.