Antonio Lucio Vivaldi (4 March 1678 – 28 July 1741), nicknamed il Prete Rosso ("The Red Priest") because of his red hair, was an Italian Baroque composer, Catholic priest, and virtuoso violinist, born in Venice. Recognized as one of the greatest Baroque composers, his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over forty operas. His best known work is a series of violin concertos known as The Four Seasons.
Dynamic, which has already in its catalogue a few neglected operas by Massenet, has the pleasure to offer another rarity by this composer, this Chérubin recorded live in Cagliari in 2006 year. The old Mozartian Cherubino of Le nozze di Figaro is no longer the young lad in his first naive contacts with women: his age moved on from 13 to 17 years and, of course, takes on more adolescent connotations. Massenet brings these aspects out well as he characterises Chérubin with vocal scoring that favours ample, intensely cantabile phrases, with leaps towards the acute register that give full vent to the lyrical soprano voice, with moments of sudden emphasis and equally rapid disappointments - a real tempest of hormones, light years away from the Voi che sapete of Mozart’s page boy.
Alessandro Corbelli takes the title role in Annabel Arden’s whirlwind production of Puccini’s compact opera, in which the scheming Gianni Schicchi retrieves for himself the spoils of a disinherited family to pave the way for his daughter to marry her love. As performed at Glyndebourne, Gianni Schicci is here combined in a double bill with Rachmaninov's dark setting of Alexander Pushkin's 'little tragedy'. The Miserly Knight, also directed by Annabel Arden and featuring an outstanding performance from Sergei Leiferkus in the role written for the great Russian bass Fyodor Chaliapin.
"…their instrumental contributions are always judicious. The brooding yet lively performance of the magnificent overture sets the tone for a performance which frequently brings out the inventive genius of Handle's writing. The pacing and rhetoric of the music is intelligently delivered throughout the performance, and (…) the cast is remarkably excellent: Joyce DiDonato's silvery singing is beautiful, stylish, dramatically astute yet unforced; her first contributions are matched by comparable quality from the light-voiced Sharon Rostorf-Zamir; Vito Priante smoulders with menacing villainy as Oronte; Roberta Invernizzi navigates the role of the disguised hero Timante with style and charm, and combines to wonderful effect with Rostorf-Zamir in the spellbinding duet "Fuor di periglio". Curtis certainly reveals that "Floridante" is a compelling and richly rewarding opera, and Handelians should not hesitate to add this to their collection." ~Grammophone