Your basket is empty

Categories :

Similar artists

Albums

From
HI-RES€25.19€35.99(30%)
CD€16.79€23.99(30%)

Full Operas - Released November 16, 2018 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
From
HI-RES€25.19€35.99(30%)
CD€16.79€23.99(30%)

Classical - Released April 14, 2014 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
From
HI-RES€11.54€16.49(30%)
CD€7.69€10.99(30%)

Concertos - Released May 11, 2018 | naïve classique

Hi-Res Booklet Distinctions Gramophone Editor's Choice
Concertos for viola d'amore represent a fairly atypical part of Vivaldi's work, and he was probably the first composer to write pieces for this work in the solo concerto format. The viola d'amore was certainly well-liked for its soft, suggestive sound, which evoked the moods and climes of the orient thanks, in particular to its sympathetic strings which vibrate with those strings the player bows. But it was little-used because of its complex tuning and objective difficulties involved in playing it. In fact, the instrument would be tuned in different ways to fit the tonality of the piece being played – the famous scordatura, so finicky for the musicians – and it is believed that Vivaldi wrote these specifically for one of the musicians at Venice's Pietá: the famous Anna-Maria. Another characteristic of these concertos for viola d'amore, the rapid movements are also much longer and fuller than in most of Vivaldi's writing, for example in the seven string concertos which figure at the start of the album, or in the miniatures which were intended as showcases for the talent of the greatest possible number of soloists in the public concerts at the Pietá. A little curiosity is offered up here in the shape of the original concerto La Conca RV163, whose themes mimic the sound of the "conca", a kind of large marine conch used as an instrument since prehistoric times. The recording includes a conch being sounded at the start of the first movement by way of explanation. © SM/Qobuz
From
HI-RES€21.49
CD€14.99

Classical - Released November 10, 2017 | Decca Music Group Ltd.

Hi-Res Booklet Distinctions 5 de Diapason
Bach's The Art of the Fugue, BWV 1080, was apparently his final work, breaking off unfinished in what would have been a monumental final section. It is written in open score, with no indication of instrumentation, which has given rise to various solutions: performances exist for organ, harpsichord, orchestra, small ensemble, and even piano, an instrument Bach is known to have encountered in his last years. But there is no recording like this one, which takes the open score as an invitation to realize the work with further creative effort, arrangement even. From the total ensemble of two violins, viola, cello, organ, and harpsichord, harpsichordist and director Ottavio Dantone and his always unconventional Accademia Bizantina deploy different combinations of instruments in the 20 fugues and canons that make up the work. Accademia Bizantina is a period-instrument group, but it can't be called a historical-performance ensemble. There's no indication that The Art of the Fugue was ever played this way (the intermittent combination of organ and harpsichord is particularly ahistorical), and Dantone offers an abstract, expressive justification for his forces rather than a historical one: he writes of an "art of hidden emotions." There is no question that playing the work this way diminishes its abstract, study-like quality (it has been argued that Bach intended it as a kind of compendium of technique, not as a work for performance) and increases its expressive qualities. Each fugue sounds different. Whether Dantone succeeds in maintaining the work's coherence will be up to the ears of the individual listener, but the procession of sounds is anything but dull: the rocking and rolling sounds of the Accademia Bizantina strings, with a trio sonata-like texture, make a compelling contrast with the keyboard settings of some of the more elaborate fugues, and Dantone's punchy harpsichord makes a further contrast with the more cerebral organ. This is a bold experiment with one of the intellectual landmarks of classical music, and there will be listeners who are not disposed toward something like that. But try it -- you might really like it. © TiVo
From
CD€16.79€23.99(30%)

Full Operas - Released November 2, 2005 | naïve classique

Distinctions 5 de Diapason
From
CD€14.99

Classical - Released January 1, 2008 | Decca Music Group Ltd.

Distinctions 9 de Classica-Répertoire
From
CD€9.99

Classical - Released February 8, 2013 | Stradivarius

Distinctions 5 de Diapason
From
HI-RES€25.19€35.99(30%)
CD€16.79€23.99(30%)

Opera - Released September 25, 2020 | naïve classique

Hi-Res Booklet
The musical world owes a great debt of thanks to the Vivaldi Project on Naive as it edges ever closer to fulfilling its mission to record around 450 Vivaldi works located in the National University Library of Turin, and not simply for the number of premiere recordings of long-forgotten works it's chalked up. Also because of the quality of each new offering in purely musical terms, often from veritable dream teams of artists. Truly, Vivaldi has shone, and Il tamerlano is no exception to that rule. Premiered in Verona in 1735, Il Tamerlano – also known as Bajazet after the Ottoman sultan who Tuco-Mongul emperor Timur (Tamerlano) kidnaps - is a pasticcio: a musical patchwork drawing on arias from multiple other works, and which in this case saw Vivaldi cherry-picking not just from his own operas but also inserting up to ten further arias by the likes of Geminiano Giacomelli, Johann Adolf Hasse and Riccardo Broschi. These Vivaldi then tied together with freshly written recitatives. The present recording also “reconstructs” five arias which were not in the score but were certainly sung in 1735. Artists-wise, it's a stellar line-up: Ottavio Dantone and his Accademia Bizantina for the tenth time in this series (not all of which has been opera, and if you want to hear them strutting their brilliant stuff in purely instrumental repertoire then head to the six late “Per il castello” violin concertos they recorded with violinist Alessandro Tampieri); then baritone Bruno Taddia as Bajazet, countertenor Filippo Mineccia as Tamerlano, along with mezzos Sophie Rennert and Marina de Liso, soprano Arianna Vendittelli and contralto Delphine Galou. As for the actual music-making, in orchestral terms the opening sinfonia says its all: Vivaldian rhythmic punch and exuberance for the fortes, contrasting with softer-focus passages of delicately airy elegance in which theorbo rises deliciously to the fore, while metre chugs along in perkily precise manner one moment, before being dramatically stretched or paused the next. Vocally speaking meanwhile, the treats keep coming, not least from golden-toned and elegantly feisty Mineccia - for instance in his Act 1 “Vedeste mai sul prato”. Or flip to the third act for a sublime “Son tortorella” from a ravishingly pure-toned Sophie Rennert as Irene, whose beautifully controlled vocal embellishments are further set off by the poeticism coming from the orchestra's softly cooing recorders, and from its strings shining in the barely-there chamber textures. Essentially, another Vivaldi opera revived to perfection. © Charlotte Gardner/Qobuz
From
CD€8.99

Classical - Released May 31, 2007 | Onyx Classics

From
CD€14.99

Classical - Released April 3, 2020 | Concerto

From
CD€9.99

Classical - Released November 7, 2006 | Arts Productions Ltd

From
CD€9.99

Classical - Released November 7, 2006 | Arts Productions Ltd

From
CD€9.99

Classical - Released August 27, 1996 | Stradivarius

From
CD€9.99

Classical - Released November 7, 2006 | Arts Productions Ltd

From
CD€9.99

Classical - Released February 28, 2000 | Stradivarius

From
CD€9.99

Classical - Released May 14, 2001 | Stradivarius

From
CD€9.99

Classical - Released March 15, 2004 | Stradivarius

From
CD€9.99

Classical - Released July 29, 1997 | Stradivarius

From
CD€9.99

Classical - Released September 25, 1996 | Stradivarius