This album comprises of four famous Vivaldi Motets for the soprano voice.
Top flight German baroque soprano Simone Kermes paired up with Macron in this performance, and surely, the performance is nothing short of being impeccable.
Kermes' singing is jaw-dropping in terms agility, articulation and intonation. The four motets chosen here (Vivaldi composed quite some more numbers for the soprano voices than these) are among the most technically demanding works of this genre. The motets all round up with a brief Alleluja, usually very florid and demanding, and hence picked by most performers for their showmanship.
That said, Kermes and Macron scored almost perfect marks for these piece in terms of technique and musicality. The pieces are sharp, short, witty and fully stylistically alert.
The only quibble that I have at listening is that the works are performed over the top in terms of virtuosic display, and at times (like the Allelujas), misfires took place with pitch problems.
True that the compositions lend much room for such display - but they are, fundamentally, sacred pieces. The second Motet, beginning with the famous aria Nulla in mundo pax sincera (RV 630), is at once comparable to Emma Kirkby's late 20th century rendition, and immediately one hears the vastly different approach between Kermes and Kirkby. The serenity, the ethereal beauty, the differing colour layers... all given way to virtuosic display by Kermes. The same would hold true for the other motets (cf. Naive's 'product' under the same genre).
While Kermes is usually terrific in Handel and probably JS Bach, her Vivaldi Motets would not be my first pick.