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Antonio Vivaldi
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Vivaldi: Orlando furioso (Vivaldi Edition) Audio CD – Classical, January 18, 2005

by Marie-Nicole Lemieux (Performer), Jennifer Larmore (Performer), Veronica Cangemi (Performer),
4.3 4.3 out of 5 stars 36 ratings
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The quality of the singers on this recording is astounding. Canadian Marie-Nicole Lemieux evokes memories of Marilyn Horne, although her phrasing and vibrato is often more pleasant than Ms. Horne's. Jennifer Larmore is a delight, and sings the part of the sorceress Alcina with great skill and passion. Veronica Cangemi, Ann Hallenberg and Blandine Staskiewicz all have fine voices, and are destined for exciting careers and great acclaim. Of particular interest are the male singers: Venetian bass-baritone Lorenzo Regazzo (who sounds like a combination of Samuel Ramey and Bryn Terfel!) and the young counter-tenor Philippe Jaroussky. Often, male singers are `tacked on' to Baroque opera recordings and lack the skill and quality of their female counter-parts who enjoy the leading roles. Not so in this recording: both men demonstrate voices and training of the highest quality, and sing Vivaldi's music with great skill, enjoyment, and intellectual depth. (on-line review)
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  1. Language
    English
  2. Publisher
    Naive
  3. Publication date
    January 18, 2005
  4. Dimensions
    5.84 x 1.27 x 5.03 inches
  5. See all details
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Product details

  • ASIN ‏ : ‎ B00061ZKP8
  • Publisher ‏ : ‎ Naive (January 18, 2005)
  • Language ‏ : ‎ English
  • Item Weight ‏ : ‎ 3.53 ounces
  • Dimensions ‏ : ‎ 5.84 x 1.27 x 5.03 inches
  • Customer Reviews:
    4.3 4.3 out of 5 stars 36 ratings

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Antonio Vivaldi

Antonio Vivaldi

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Customer reviews

4.3 out of 5 stars
4.3 out of 5
36 global ratings

Top reviews from the United States

Laletta
5.0 out of 5 stars Five Stars
Reviewed in the United States on March 21, 2016
Verified Purchase
One of the very best opera recordings of the Vivaldi Edition. Great cast.
One person found this helpful
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Eric Erwin
4.0 out of 5 stars Delightful singers make this recording a joy
Reviewed in the United States on April 2, 2005
Verified Purchase
It is thrilling to see more of Vivaldi's operas being recorded. However, this recording of Orlando Furioso may not be for everyone. Jean-Christophe Spinosi's style of conducting is described in the liner notes as "physical;" and this is certainly true. He asks the Ensemble Matheus to `punch' Vivaldi's openings and to accent each phrase with sharp articulations. The singers soar through their runs at break-neck speed, which makes for exciting listening. But Spinosi pushes the tempo of every aria, so much so that many of them clock in at under three minutes. Even the adagio arias move along at a quick pace. For listeners accustomed to the heart-wrenching, gentle interpretations of Baroque opera offered by Rene Jacob and John Elliot Gardner, Spinosi's interpretation may seem blunt and over-done. Spinosi is a young conductor leading youthful singers, and all are clearly excited by Vivaldi's music. However, this recording lacks the mature guidance and interpretation of more experienced musicians, and thus may bother some veteran connoisseurs of Baroque opera.

The quality of the singers on this recording is astounding. Canadian Marie-Nicole Lemieux evokes memories of Marilyn Horne, although her phrasing and vibrato is often more pleasant than Ms. Horne's. Jennifer Larmore is a delight, and sings the part of the sorceress Alcina with great skill and passion. Veronica Cangemi, Ann Hallenberg and Blandine Staskiewicz all have fine voices, and are destined for exciting careers and great acclaim. Of particular interest are the male singers: Venetian bass-baritone Lorenzo Regazzo (who sounds like a combination of Samuel Ramey and Bryn Terfel!) and the young counter-tenor Philippe Jaroussky. Often, male singers are `tacked on' to Baroque opera recordings and lack the skill and quality of their female counter-parts who enjoy the leading roles. Not so in this recording: both men demonstrate voices and training of the highest quality, and sing Vivaldi's music with great skill, enjoyment, and intellectual depth. Buy the opera just to hear the singers demonstrate their talents!
43 people found this helpful
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J Scott Morrison
5.0 out of 5 stars Superlative Vocalism in Vivaldi's Best-Known Opera
Reviewed in the United States on January 26, 2005
This review cannot be definitive as I am far from being an expert on Baroque opera. But I have long loved the recording of this opera, 'Orlando Furioso,' made many years ago, but drastically cut, by Claudio Scimone with the Solisti Veneti and featuring the almost superhuman singing of Marilyn Horne as Orlando. Add to that the Angelica of Victoria de los Angeles, Lucia Valentini-Terrani as Alcina, and Sesto Bruscantini as Ruggiero and you have a nigh-unbeatable combination. But this set not only gives us an uncut version of Vivaldi's opera (with some additions suggested by musicologist Frédéric Delaméa, additions which fill in gaps in the original materials from which this performance was produced), it features, amazingly, voices that are fully the equal of those in the fabled Scimone recording. Some roles have been re-assigned: Ruggiero is sung by a counter-tenor here (as opposed to Bruscantini's baritone); Medoro is sung by a mezzo, rather than a tenor.

One quibble I have about the Horne performance is that she made the role of Orlando, with all its vocal gymnastics, almost a caricature (forgive me, Horne fans! I'm one, too, after all). In the present recording Canadian mezzo Marie-Nicole Lemieux not only sings as well as Horne, but limns the character with greater sensitivity. Her ornamentation is not quite as spectacular, but it's also not as, how shall I say?, show-offy. And the ornaments are more in keeping with practice of 1727 when the opera was premièred, I believe. Lemieux is fully capable of Horne's acrobatics, so it's not a matter of lack of technique, it's more a matter of (gasp!) taste. A larger question arises about the replacement of the role of Ruggiero sung by a baritone (Bruscantini) with a counter-tenor (the sweet-voiced Philippe Jarrousky). In fact, though, at the first performance Ruggiero was sung by a mezzo who specialized in pants roles, so perhaps using a counter-tenor is more appropriate. In any event, Jarrousky is superb, bringing an appropriate delicacy to the role. Angelica, sung ravishingly by the Argentine soprano Veronica Cangemi, does not make us forget the late, beloved Victoria de los Angeles, but her performance does not suffer in comparison either. Jennifer Larmore has a complete triumph in her performance of Alcina which is, I feel, actually superior to that of Valentini-Terrani.

Instrumental support by Jean-Christophe Spinosi and his Ensemble Matheus is lively, sensitive and brilliant. Special mention must be made of the lovely flute obbligato in Ruggiero's aria, 'Sol da te, mio dolce amore,' played radiantly by Jean-Marc Goujon. Supporting roles are also well sung, in some instances better than on the Scimone set. I think this set heralds the real arrival of Marie-Nicole Lemieux on the international scene, at least on records. She has made some wonderful CDs, mostly on smaller labels; I raved about her recording with Tafelmusik on Analekta but was less taken with her Brahms lieder recital on the same label. I suspect this recording will bring her appropriate acclaim.

Strongly recommended for lovers of superb singing.

3CDs: 181 mins

Scott Morrison
50 people found this helpful
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Gerard Barbier
5.0 out of 5 stars tres bel enregistrement
Reviewed in France on July 29, 2014
Verified Purchase
Trés bel enregistrement de cet opera de vivaldi, Marie Nicole lemieux est superbe,investissant sans problemes le role d'Orlando, sans pour autant faire oublié la grande Marilyn Horne , mais le reste de la distribution est superieur à l'enregistrement avec horne,avec une mention speciale pour l'Angelica de Cangemi, la vibrante Alcina de jennifer Larmore et le Ruggiero de Jaroussky,égal à lui meme dans l'exellence, dont le "sol da te mio dolce amore" de l'acte I est un des plus beaux moments de l'opera; le tout sous l'exellente direction de Jean Cristophe Spinosi, aucune raison de bouder le plaisir que cet enregistrement nous procure.
3 people found this helpful
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cuthbertus
5.0 out of 5 stars Naive extravaganza
Reviewed in the United Kingdom on December 4, 2013
Verified Purchase
If you thought Vivaldi wrote the same concerto 146 times and that his choral work was THE GLORIA go to the outstanding Naive sets of his operas. My remarks on L'Olimpiade hold good for these discs. Handel Baroquophiles should add them to their Christmas list.
2 people found this helpful
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常陸太郎左衛門
5.0 out of 5 stars 眩いばかりの輝きを放つOrlando Furioso
Reviewed in Japan on November 18, 2014
Verified Purchase
本作はVivaldiの名作オペラOrlando furiosoの（現時点における）事実上の決定版である。2004年の録音であるが、現状これ以上に価値ある録音は存在しないように思う。指揮のJean-Cristophe Spinosiによる音楽解釈は非常に素晴らしいの一言に尽きる。また、彼の手兵であるEnsenmble Matheusの演奏も全くもって申し分ない。それ以上に、この作品で言及すべきは、Philippe Jaroussky（Ruggiero）の存在感であろうか。今でこそ世界的大スターであるが、まだこの頃はそこまでの存在では無かったはずである。彼の天賦の才能に脱帽するしかない。タイトルロールを務めるMarie-Nicole Lemieuxも言わずと知れた実力者であり、全体的に見て非常に満足出来る作品に仕上がっている。お薦めである。

なお本作の内容とは直接関係ないが、Jarousskyが本作の中で好演したRuggieroのアリア（"Sol da te" from Act 1）と、Orlandoのアリア"Nel profondo" from Act 1は彼のDVD（La Voix des Réves, Greatest moments in Concert）にコンサートでの歌唱の様子が収録されているので、そちらも是非見てみてほしい。特に後者のアリアの場面では、本作でOrlandoを務めたMarie-Nicole Lemieuxと非常に面白い”共演”を行っている。必見である。

Antonio Vivaldi, Orlando furioso, RV728, (Liberetto: Grazio Braccioli)

指揮: Jean-Cristophe Spinosi
演奏: Ensenmble Matheus
合唱: Les Éléments

Orlando: Marie-Nicole Lemieux (Contralto)
Alcina: Jennifer Larmore (Mezzo soprano)
Angelica: Veronica Cangemi (Soprano)
Ruggiero: Philippe Jaroussky (Countertenor)
Astolfo: Lorenzo Regazzo (Bass)
Bradamante: Ann Hallenberg (Mezzo soprano)
Medoro: Blandine Staskiewicz (Mezzo soprano)
10 people found this helpful
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Mike Microphon
5.0 out of 5 stars 5 Sterne für so viel Engagement...
Reviewed in Germany on January 27, 2008
Verified Purchase
Die Aufnahme des ORLANDO FURIOSO ist sehr gelungen, es treffen sich ein hervorragendes Ensemble, ein motiviertes Orchester und ein ausgezeichnetes Aufnahmeteam. Die reichliche finanzielle Unterstützung der OPUS111-Edition hat sich also gelohnt. Die Qualität dieser Aufnahmen übertrifft Labels wie VIRGIN deutlich, aber auch die ARCHIV. Man sollte sich von den albernen Coverbildern nicht irreführen lassen. Jean-Christoph Spinosi präsentiert ein spielfreudiges Orchester. Wenn man die Ohren spitzt, errät man auch den Grund für Spinosis Hang zur Agogik. Die Instrumentalisten sind nicht die Besten, Unsauberkeiten relativ häufig. Den Trick einer mitreisenden Interpretation zur Verdeckung von technischen Schwierigkeiten kennt jeder Provinzdirigent. Spinosi hat darauf zurückgegriffen. Die Oper selbst hat ihren Schwerpunkt in den Rezitativen, insgesamt eine spannende Komposition.
Die Aufnahme hat -dies als technischer Hinweis- eine sehr hohe Aussteuerung, d.h. man darf eine Dynamik in der Lautstärke erwarten, die grenzwertig ist. Viele Verstärker werden hier schlapp machen. Kritisieren sollte man diese Konzeption aber nicht, im Gegenteil handelt es sich um eine sehr ambitionierte, fast audiophile Abbildung. Die Aufnahme hat den Jahrespreis der Deutschen Schallplattenkritik 2005 erhalten!
Von den Sängern möchte ich außer Marie-Nicole Lemieux (Orlando) den Mezzo Ann Hallenberg hervorheben, die allmählich an Bekanntheit gewinnt. (Sie hat im TOLOMEO (2008) bei der ARCHIV die Titelpartie. Mehr zu empfehlen ist aber der IMENEO (2003) beim Label CPO, wo die Hallenberg die prima donna verkörpert). Ph. Jarrousky singt wie immer in seiner eigenen Liga, er hat allerdings nur eine Nebenrolle. Seine große Arie ist allein schon die Anschaffung wert! Sein Exklusivvertrag bei der VIRGIN ist natürlich eine Katastrophe für den anspruchsvollen Hörer, dafür habe ich das Schlagwort geprägt: Ruin-the-stars-Label!
6 people found this helpful
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De Beauchamp
5.0 out of 5 stars vivaldi et brest
Reviewed in France on January 9, 2017
Verified Purchase
les operas de vivaldi importante partie de son oeuvre et pourtant méconnus , enregistrement très "dynamique" au rythme échevelé la touche légère et poétique de l'ensemble Matheus et l'interprétation inspirée de Spinozi à un prix plus qu'abordable pourquoi s'en priver ? Jarouski au mieux de sa forme , Lemieux éblouissante
2 people found this helpful
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