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Classical - Released May 31, 2019 | naïve classique

Hi-Res Booklet
When it comes to posterity, Vivaldi has been quite lucky. Thanks to a series of happy accidents, his personal manuscript collection has survived through the centuries, allowing his music to be preserved and later played and recorded. Contralto Delphine Galou and Ottavio Dantone, the director of the Accademia Bizantina, drew from this invaluable batch of nearly 450 compositions to develop this album’s program of sacred music dedicated to the alto voice.This recording includes two “introdutioni” for alto, a kind of motet whose form would have been devised by Vivaldi for his Venetian work for the Pietà. You can also find the vespertine hymn Deus tuorum militum for alto and tenor (Alessandro Giangrande), as well as a Regina coeli, a Marian antiphon played on Easter Sunday.At the heart of this album is a violin concerto written for the day of the The Assumption of Mary (August 15th). The importance of this celebration in the Italian liturgical calendar is underlined here by a score of an unusual length for a Vivaldi concerto, with it being divided into two orchestral parts that exchange a sometimes and sometimes joyous dialogue. Written for his student Anna Maria, the solo violin part preserved in the archives is played here by Alessandro Tampieri, who has once again enriched it with a very virtuoso "capriccio" of his own making. © François Hudry/Qobuz
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Opera Extracts - Released May 31, 2019 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason
When it comes to prosperity, Vivaldi got pretty lucky. Thanks to a succession of happy accidents, his personal collection of manuscripts has survived through the centuries, allowing his music to be preserved, then later played and recorded. The contralto Delphine Galou and Ottavio Dantone, the director of the Accademia Bizantina, drew from this priceless batch of nearly 450 compositions to develop the program for this album of sacred music pieces dedicated to the alto voice.This new recording of the Vivaldi Edition, begun by NAÏVE many years ago, offers cantatas and arias for viola, functioning as perfect companions for the album of works sung by the same Delphine Galou. The lyrics, often by unknown authors, do not have a strong literary interest. Here, we find a pastoral world populated by shepherds in need of love as well as cruel and fickle nymphs, obeying the cannon of the time.Vivaldi takes advantage of these stereotypical characters to vary his expressive palette in a very subtle way and introduce the operatic style into works primarily intended for living rooms. The exceptional quality of his music generally transcends the commissioned work he is obliged to do, both in Mantua and Venice. These cantatas are accompanied here by some arias from his many operas. They allow Delphine Galou to fully express the variety and range of her singing through the pathetism of Liquore ingrato (Tito Manlio), the sweetness of "Andrò fida e sconsolata" of the same opera or the innocent grace of a childish song in the aria "È pure dolce ad un'anima amante" (Il Giustino). © François Hudry/Qobuz
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Full Operas - Released November 16, 2018 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - Choc de Classica
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Violin Concertos - Released September 28, 2018 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason
Fabio Biondi had his work cut out for him with the complete recordings of Vivaldi's violin concertos, as the Venetian left behind more than 250 works for one, two, three or four violins. Volume VI here offers a group of six concertos written in Prague and Bohemia in the course of his stay there between 1730 and 1731.Today, musicology has become much more of a science, and it is possible to put a date on these manuscripts by means of a precise analysis of the paper used by the composer if the music doesn't speak for itself. The Antonio Vivaldi of these pieces retains the style for which he is known and loved across Europe. Fabio Biondi notes that as there are only a few hints of Bohemian music in these concertos, which are more resemblant of Vivaldi's younger work. We might conclude that while abroad, the composer was writing pieces which, while new, were destined for use by his beloved students in the Pietà.Venetian chroniclers from the time often wrote of Vivaldi's virtuoso violin playing, admiring the inventiveness that he brought to the cadenzas of his concertos (the section at the end of a movement which is left open for creative improvisation) and the fantasy that he worked into his improvisations. While we have no proof that Vivaldi was the soloist for his own works during his Bohemian trip, Fabio Biondi, a true connoisseur of Vivaldi's style, clearly aims to apply this spirit to his recordings, and nowhere more so than here. © François Hudry/Qobuz
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Full Operas - Released September 21, 2009 | naïve classique

Booklet Distinctions 5 de Diapason - 10 de Répertoire
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Sacred Oratorios - Released October 16, 2007 | naïve classique

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Opera Extracts - Released October 16, 2007 | naïve classique

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Sacred Vocal Music - Released April 3, 2007 | naïve classique

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Classical - Released March 14, 2006 | naïve classique

Booklet
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Opera Extracts - Released February 21, 2006 | naïve classique

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Concertos - Released April 28, 2005 | naïve classique

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Classical - Released January 1, 2005 | naïve classique

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Concertos - Released August 31, 2004 | naïve classique

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Full Operas - Released April 27, 2004 | naïve classique

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Sacred Vocal Music - Released September 30, 2003 | naïve classique

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Cantatas (sacred) - Released May 20, 2003 | naïve classique

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Classical - Released October 29, 2002 | naïve classique

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Concertos - Released April 16, 2002 | naïve classique

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Full Operas - Released February 19, 2002 | naïve classique