In his sacred music Vivaldi uses a heartfelt, ethereal language, which is never dull, but subtly ironical and at times even impassionedWhen Vivaldi wants to get a message over, he just ignores technical and practical requirements, be they vocal or instrumental: the treacherous tirade of semi-chromes in the soprano part of the Amen in RV 601, or the instrumental accompaniment to Suscitans in the Laudate pueri are examples of this. The amazing thing is that Vivaldian projects are always a success, even if they are difficult to realize: this is what makes Vivaldi a great composer of sacred music, whatever Tartini had to say about him. Besides, there are those who criticise Sibelius when they realise how much they will have to practise to play the third movement of his violin concerto…. Vivaldi always composed his music for specific occasions and he probably realised that he could trust his favourite musicians at the Pietà: this is no doubt the reason why all his introductions are for female voices – soprano and contralto. But in this recording we have chosen to disregard the historical details and entrust the contralto role to Roberto Balconi, who has a particular feeling for the text and its importance, even though, as in this case, the Latin is not particularly inspiring.


Disco n.1
Vivaldi, Antonio
Laudate pueri Dominum, RV 601, "Psalm 112"
  1 - Laudate pueri, Dominum (3:15)
  2 - Sit nomen Domini benedictum (2:51)
  3 - A solis ortu usque ad occasum (2:41)
  4 - Excelsus super omnes gentes Dominus (2:57)
  5 - Suscitans a terra inopem (2:02)
  6 - Ut collocet eum cum principibus populi sui (1:55)
  7 - Gloria Patri et Filio et Spiritui sancto (3:43)
  8 - Amen (2:09)
Cur sagittas, cur tela, cur faces, RV 637
  9 - Aria: Cur sagittas, cur tela, cur faces (4:10)
  10 - Recitative: Hostibus circumventa undique et armis (1:31)
  11 - Aria: Pugnat prome - Ah, cordis robur mei (5:12)
Ascende laeta, RV 635
  12 - Aria: Ascende laeta (4:43)
  13 - Recitative: Quam pulchri, quam formosi (4:43)
  14 - Aria: Sternite, Angeli (3:50)
Non in pratis aut in hortis, RV 641
  15 - Recitative: Non in pratus aut in hortis (0:57)
  16 - Recitative: Ibi spinis confixus (1:09)
  17 - Aria: Pro me caput spinas habet (8:14)
  18 - Recitative (0:56)
Ostro picta, armata spina, RV 642
  19 - Aria: Ostro picta, armata spina (3:07)
  20 - Recitative: Sic transit vana et brevis gloria mundi (1:09)
  21 - Aria: Linguis favete (3:32)
  • Performers: Laura Antonaz: Soprano, Roberto Balconi: Contralto – Maestro di concerto al violino: Vania Pedronetto; Flauto traversiere: Luigi Lupo, II violino: Rossella Croce; Viola: Maurizio Borzone, Violoncello: Daniele Bovo; Contrabbasso: Mauro Zavagno, Organo: Francesco Baroni
  • Historical Period: Late Baroque
  • Code: TC 672261
  • Edition: 2005
  • Barcode: 8007194103120
  • Set: 1
  • Total tracks: 21
  • Total duration: 01:00:55

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