Another Vivaldi opera enters the discography, and this one’s a beauty. Based on a story in Boccaccio’s Decameron, with a libretto by Apostolo Zeno revised by. Vivaldi’s genius came to full fruition in his masterpiece Griselda. The story of Patient Griselda, taken from The Decameron, is an uncomfortable one for modern . Griselda was first performed at Venice’s Teatro di San Samuele during spring Apostolo Zeno’s libretto, based on a tale from Boccacio’s Decameron, was .

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Vivaldi favoured younger and less expensive singers on the cusp of international careers, and eschewed the exorbitant fees of superstar castrati.

His people are tired of Queen Griselda, a woman of humble birth. In he maintained griseoda have written 94 operas, and to an English visitor he laid claim to 17 printed publications when in reality there were only 12 Vivaldi cheekily inflated the figure by including the sets issued in two volumes.

Griselda, RV 718 (Vivaldi, Antonio)

Production values are very high. The opera’s subject material was appropriate, as it was with Griselda that Vivaldi, formerly considered too “plebeian” to be heard in most of the Venetian theaters, finally got his foot in the door, thanks to political and artistic changes occurring at that time.

Griselda returns to her home in the countryside where she is pursued by the villainous courtier Ottone, who is completely besotted with her and has surreptitiously fomented the popular uprisings in order to derail her marriage.

Marie-Nicole Lemieux’s passionate performance of the title-role has vivid handling of text and emotive singing. Now, after the recent birth of a son has led to another rebellion from the Thessalians against Griselda as a queen, Gualtiero is forced to dismiss her and promises to take a new wife.

She returns her crown to him; he immediately leaves to greet his new bride. Instead of a known soprano castrato, he wrote for Lorenzo Saletti, who clearly found the technical demands of the role too challenging as a hastily-written, much more mundane aria was substituted for Ottone. Apostolo ZenoCarlo Goldoni. This is the proof Gualtiero has been waiting for. Her resilience is admirable, yet the extent of her suffering reveals a complex ambiguity: Spinosi’s pacing of the arias suggests sensible interpretation of Vivaldi’s instructions.

Gualtiero, still not satisfied, pledges Griselda to Ottone. Even though he had begun his career as an instrumentalist and pedagogue, his sensational debut as an opera composer in in Vicenza, with Ottone in villa, inaugurated a prolific vocation in the profitable field of dramma per musica, the theatrical genre most beloved of 18th-century audiences.


Based on a story in Boccaccio’s Decameronwith a libretto by Apostolo Zeno revised by the famous Carlo Goldoni, the plot of Griselda is typically convoluted.

Gualtiero and his followers go out hunting and come across Griselda’s cottage. The all-time greats Read about the artists who changed the world of griseelda music. The page booklet contains all the information you could ever want, and the engineering is good, although there are unexpected “noises off” here and there, such as footsteps, and, at one point, what sounds like someone dropping Vivaldi’s score.

Apostolo Vvaldi libretto, based on a tale from Boccacio’s Decameronwas adapted for Vivaldi by Carlo Goldoni then a young playwright at the outset of his career: At its core, it concerns the pursuit of professional success, at any personal cost. Skip to main content. The Return of Ulysses. Costanza, the bride to be, comes to the court with her lover, Roberto, torn between loving him and wanting to be Queen.

Three cellists and two basses play quietly most of the time, making the grisedla basso continuo far too thin and rarely giving enough depth and texture to the dynamic width of Vivaldi’s harmonic writing. Gualtiero and Corrado reveal the true identity of Costanza, Ottone is pardoned and the girl is allowed to marry Roberto.

Gualtiero reveals that Costanza is their long-lost daughter. Personally, I thought the energy was wonderful. The fact that her questions about her fate go unanswered by others only outlines even more dramatically the cruel injustice of the situation.

In many Baroque operas, the recitatives slow the action down, but in Griseldawe hang on every word and every note. I confess I can’t get enough of this singer, who has one of the most limpid counter-tenor voices around today. Faced with such virtue, the people can no longer oppose Griselda as queen. This recording reaffirms that we are living in a Golden Era of Baroque performance. Fortunately, the ending is happy, and Gualtiero’s love for the always loyal Griselda is justified griselra restored.

The vivali contains some griselca Vivaldi’s finest – and most difficult arias – including Agitata da due venti and Dopo fivaldi procella.

There’s no denying that this is an electrified and electrifying performance, and I can see where his detractors are coming from, without agreeing with them. ACT 3 Griselda overhears Costanza and Roberto declaring their love for each other; furious at their vivaldj of Gualtiero, she launches into a tirade vivzldi reproaches, but when Gualtiero arrives, he tells Griselda the matter is none of her business, and orders her to serve Costanza without question, even if she is dallying with Roberto.


Vivaldi Griselda |

We hear arias whose texts refer to storms, birds, arrows, and sleep, each with appropriate musical illustrations familial from Vivaldi’s concertos. A petulant public demands he have a nobler consort.

Furthermore, it vivalvi revealed that he never intended to marry Costanza anyway, because she is his daughter by Griselda! In the title role, mezzosoprano Caitlin Hulcup was outstanding. These complexities resonate not only with the struggles that might exist within a domestic union, but with the viavldi that individuals seek and play out in public life.

Thanks to Vivaldi and his young stars, the Grimanis and their theatre were back in business. There was no place for a plebeian priest Vivaldi had been ordained inthough he had ceased to celebrate Mass the following year on the sumptuous stages of the S. 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 vivaldii to be brought up by Griseldx Corrado of Athens.

In despair, she at first agrees to the bargain to save her son, but her devotion to Gualtiero proves stronger than her maternal love; she calls down the justice of heaven on Ottone as he leaves vivzldi carry out his threat. She is loved by Ottone, a prince of Thessaly, who apparently thinks Gualtiero’s throwaways are good enough for him, and uses Griselda’s humiliation as an excuse to pursue her relentlessly.

Vivaldi, in his dual role as composer-impresario, had rather remarkably managed to run up a sizable profit. Vivaldi did not spare his singers, and indeed, there are some passages which had to be griseldda because of their difficulty. Part of the issue, I think, is that the characters in Griselda seem to be in passionate overdrive most of the time. The lovers are bemused but delighted at this reprieve.

This is as it ever was, topical. Iestyn Davies, another counter-tenor, makes a good impression in the smaller role of Corrado. Vivaldu Artist Credits Griselda. There are only six characters, and each has several arias in a variety of styles, most of them in AABAA form, with each new appearance of the A section varied. Griseld himself penned an account of his first meeting with Vivaldi: