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Laura Ronai
Early Music, April 2009

This recording will bring much pleasure to anyone who enjoys the music of Vivaldi.



Robert Hugill
MusicWeb International, November 2008

This is the third volume of Naxos’s Vivaldi Sacred Music edition performed by the Canada-based Aradia Ensemble directed by Kevin Mallon. Volume 1 concentrated on choral music (8.550767). Volume 2 (8.557852) included some of the best known sacred pieces for solo voice and orchestra. This third volume mixes choral and solo pieces, but with the emphasis on the solo voice.

The disc opens with Vivaldi’s Magnificat, a piece which appears to exist in four different versions, the grandest of which is RV610a which seems to have been adapted for two choruses. On this disc the ensemble perform Vivaldi’s final version RV611 written for performance at the Pieta in 1739. Vivaldi has added five entirely new solo movements to pre-existing choral numbers. All of the solo movements were designed to be sung by members of the Pieta. On this disc all the solos are sung by a single singer, Lynne McMurtry.

It is a slightly curious experience listening to this piece if you are more familiar with one of the Magnificat’s earlier incarnations—these are the ones which have tended to be recorded. McMurtry is convincing in the solo part, even though written for more than one original soloist. She has a warm-toned voice but is let down by the rather laboured quality of her runs.

In both Robert King’s Vivaldi series on Hyperion and Rinaldo Alessandrini’s series on Naïve, the version of the Magnificat favoured is RV610a. This makes this disc something of a novelty in recording the later version.

There are three different surviving settings of the Salve Regina by Vivaldi. RV617 dates from 1717–18 and includes a lovely solo violin line in two of the movements. The soprano solo is sung by Carla Huhtanen who has a bright voice which has a tendency to be wayward in its upper register.

Mallon and his ensemble follow this with a short concerto for string orchestra. It is quite an appropriate piece for this collection as it might have had a vocal origin and the opening Adagio is related to the Kyrie, RV587 and to the Magnificat both of which are also included on this disc.

The Nisi Dominus, RV608 belongs to Vivaldi’s early period at the Pieta. Nisi Dominus is a Vespers psalm. During the later baroque period it was the Sunday Vespers which attracted most attention from composers. The solo part is ably taken by Lynne McMurtry.

The Kyrie, RV587 is written for double chorus and double string orchestra—grand forces which suggest a grand occasion for performance.

Finally we get another of Vivaldi’s motets for solo voice and orchestra. This one dates from 1724 when he was in Rome for the staging of his opera Il Giustino. Cardinal Ottoboni was the patron of the opera so it is possible that he is linked to the motet as well. In which case it may have been written for Ottoboni’s church of San Lorenzo in Damaso and may well have originally been sung by a castrato. The opening da capo aria depicts the fury indicated in the text; the central movement provides some respite and contrast, then a short recitative leads to a poignant Largo da capo aria, the mood being broken by a final florid alleluia.

The work was obviously written for a virtuoso singer and Carla Huhtanen copes admirably. But this does bring out the main weakness of the recording; the soloists are all capable and musical but never quite as bravura or virtuoso as they should be. …Mallon and his ensemble accompany magnificently and provide some fine solo moments. If choice had to be made on the basis of accompaniment alone, then this new disc has much to commend it.



James Manheim
Allmusic.com, November 2008

Kevin Mallon’s Aradia Ensemble…will impress you with the musical intelligence of the whole…This performance shows the continuing evolution of Canadian Baroque-oriented musicians and singers.



Giv Cornfield
The New Recordings, Cliffs Classics, October 2008

In the plethora of Vivaldi’s sacred music, there are no losers. The man was simply incapable of writing anything that was not at least lovely. So it’s good to have this third disc of the complete sacred works. Kevin Mallon—like Vivaldi, in a way—is unable to produce anything that is not lovely. Moreover, at a generous 74 minutes, this is a real value—and what sound!



David Denton
David's Review Corner, September 2008

Though Vivadi’s church music played a respected place in his vast output, it was largely composed out of a matter of duty, and provided little financial reward to fund his lavish lifestyle.The Magnificat, that opens this new disc, is a case in point, for he was to adapt it in different guises to save writing new works for subsequent religious celebrations. It probably started life in 1715, and was to undergo three changes before he finally offered it to the Ospedale della Pieta in 1739. Not that it was an extended score in its final format, none of the ten sections lasting more than three minutes. I find more to enjoy in the charm of the brief Salva Regina (RV 617) and the unusual harmonies heard in the Nisi Dominus (RV 608). Bothare scored for solo soprano and small ensemble, Carla Huhtanen’s bright quality married with the agility required for the florid passages. The Kyrie (RV 587) is memorable for the impassioned plea in the final Kyrie eleison. But it was for his visit to Rome, and with the prospect of rich rewards, that his Motet In furore iustissimae irae moves to a different level of inspiration. How he recycled his lowly paid church music for the more profitable secular market comes in the use of such material in the Concerto in D minor ‘Madrigalesco’ (RV 626), which completes the disc.The Toronto-based period instrument group, the Aradia Ensemble, with their conductor, Kevin Mallon, produce a stylish Baroque quality, the immaculate intonation of the strings being a constant joy. The church recording emphasises the lower end of the orchestra, but is well-balanced between voices and instruments.






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3:09:34 PM, 21 December 2014
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