Motets

this has quickly turned into my all-time favorite discs. i was already a huge fan of Fabio Biondi, but hadn't heard Patrizia Ciofi. wow--what a voice! she has an absolutely stunning voice and her navigation around Vivaldi's music is exemplary as well. it goes without saying that Biondi and the magnifico Europa Galante is more than up to the task, providing a bellissimo accompaniment to Ms. Ciofi. another top-notch disc from these fantastic performers. Bravo Tutti! i would love to hear more of Vivaldi's vocal works from these artists.

favorite track: Sit nomen Domini [Largo] from Laudate pueri Dominium RV 600. unbelievably gorgeous movement and heart-wrenching. i could listen to it on repeat all day.

Highly Recommended!

do yourself a favor and purchase this CD. it is well worth it!

This is yet another perfectly sublime recording of Vivaldi's religious music for vocals and strings from violinist Fabio Biondi and his ensemble Europa Galante, a worthy successor to their wonderful 2002 recording of Vivaldi's "Stabat Mater/Nisi Dominus/Longe Mala" featuring the extraordinary countertenor David Daniels. This time Biondi has landed the considerable talents of soprano Patrizia Ciofi, whose energetic coloratura was most recently heard on the stylish "Handel Operatic Duets (Amor e gelosia)" disc with mezzo-soprano Joyce Di Donato and the splendid René Jacobs-produced recording of Mozart's "La Nozze di Figaro". It's worth noting that Daniels, Ciofi, Biondi and Europa Galante are teamed up on the upcoming recording of Vivaldi's "Bajazet".

Even though this disc is subtitled "Motets", technically the first piece, "Laudate pueri Dominum," is not a motet but an extended psalm, and even more surprising is the fact that it is a lively, challenging 23-minute work consisting of ten diverse movements, all of which Ciofi tackles with great skill. Her fiery bravura is especially evident in the opening allegro and returns toward the end in a repeat of the same movement. This provides an effective contrast to her appropriately mournful tone on "Excelsus super omnes," where she is accompanied by a somber obbligato trombone, and the beautiful legato she displays on "Gloria Patri et Filio". Ciofi shows powerfully expressed fury on both "In furore giustissimae irae" and "In turbato mare irato", the opening arias of the second and third motets, without sacrificing the inherent warmth of her voice. In contrast, she sounds joyful with great abandon on the opening aria of the last motet, "O qui coeli terraeque serenitas". The largos, "Tunc meus fletus" from "In furore..." and "Rosa quae moritur" from "O qui coeli..." both contain a melting quality that is at once inspirational and passionate, The larghetto "Resplende, bella" from "In turbato..." is arguably the disc's high point, a sensitive performance that shows off Ciofi's amazing breath control and dramatic acumen. This is lovely, hypnotic work, almost too beautiful for the deeply religious lyrics performed, with stellar performances all around.

Just as I think that Vivaldi has reached an insuperable level of inspiration with an aria or concerto, and nothing else can beat it or he can't exceed it, I am proven wrong. Case in point is the larghetto aria "Resplende bella". This aria actually sounds like a requiem, very solemn, emotional on the brink of death and mourning, masterly executed by Ciofi, and with the perfect vocal affections to drench and sadden the heart. If anything, the aria should be renamed "Mortis Horrores" after its leading mantra and most dramatic point reminiscent of a ritual procession. At some point, the music defies the baroque and sounds like nothing written almost three hundred years ago. Ciofi is phenomenal. Biondi complements her perfectly with the right punctuation and texture. It seems that everything or anything he plays can't be rivaled. Though I got this CD for "In Furore Giustissimae Irae", was much more pleasantly surprised by the rest of musical repertoire. Ciofi commands the strength and deliverance in the very sweeping vocal runs of the Alleluias, and the allegros from "In turbato mare irato" and " In Furore Giustissimae Irae". In the latter, Ciofi astounds with her ability to carry the same orchestral rhythm at full coloratura and note continuity. Wow! Even the recitativos are not to be missed or skipped. They really belong and find their musical right to be.