Auto boutiques-francophones Simple and secure cloud storage Personal Care Cook Kindle Music Deals Store Cycling Tools minions
Vivaldi: Orlando 1714 has been added to your Cart
+ CDN$ 3.49 shipping
Used: Very Good | Details
Condition: Used: Very Good
Comment: coffret classique
Compare Offers on Amazon
Add to Cart
CDN$ 41.16
& FREE Shipping. Details
Sold by: Fulfillment Express CA
Have one to sell? Sell on Amazon

Image Unavailable

Image not available for
  • Vivaldi: Orlando 1714
  • Sorry, this item is not available in

Vivaldi: Orlando 1714

Price: CDN$ 41.55 & FREE Shipping. Details
Only 3 left in stock (more on the way).
Ships from and sold by Gift-wrap available.
18 new from CDN$ 33.69 3 used from CDN$ 20.00
Unlimited FREE Two-Day Shipping for Six Months When You Try Amazon Student

Product Details

Product Description

The rediscovery of a new Vivaldi opera! Orlando furioso is Vivaldi's most famous operas dating from 1727 . . . But today the specialists of the Venetian composer's catalogue are able to reveal that Vivaldi actually composed another Orlando furioso thirteen years earlier! Orlando furioso of 1714 now achieves a new lease of life under a catalogue number that has just been assigned to it: RV 819. Only two acts have survived. A baritone unlike the 1727 version sings Orlando.

Customer Reviews

There are no customer reviews yet on
5 star
4 star
3 star
2 star
1 star

Most Helpful Customer Reviews on (beta) 6 reviews
5 of 5 people found the following review helpful
A wonderful discovery! March 1 2013
By Stuart Sillitoe - Published on
Format: Audio CD
In his introduction to the booklet notes, Federico Maria Sardelli, puts forward a strong and decisive case for why this opera should be seen as an original work by Vivaldi and therefore moved from the spurious works (RV Anh. 84) and entered into full catalogue of works. He builds on earlier research before going on to explain how he has had to reconstruct some sections of the opera and why he has refused to re-compose the missing third act. This is a well researched argument and whatever you think, with a performance as good is this, it is a worthy addition to any collection.
I have a few recordings in the Naïve Vivaldi Edition, but the only opera in the series I have is of the 1727 version of the same libretto, which while one of Vivaldi's best known operas, is also one of the most underrated. Yes, this does lead to similarities, after all which composer of the period did not recycle earlier material, but these are distant echoes with the opera on the whole sounding new and fresh.
The performance is one to savour, with all the vocalists giving a spirited performance of this effective performance. If I were to single one singer out it would be Roberta Mameli, who positively sparkles in the all too short role of Astolfo, just listen to her Act 2 aria Ah, fuggi rapido and, like me, you will be wishing that she had more to sing! The instrumentalists too are in fine form and breathe new life into this old music, and all under the expert direction of Federico Maria Sardelli, who proves that he is a lot more than an academic.
The booklet notes are excellent and it is recorded in a pleasingly natural and sympathetic acoustic, making this a most recommendable set. If you have the Naïve recording of the 1727 version of Orlando Furioso and you are dithering over whether to invest in this recording, well dither no more, buy this new recording, it has some really effective and pleasing music and you won't be disappointed!
6 of 9 people found the following review helpful
An inspired recreation Dec 23 2012
By Jon Chambers - Published on
Format: Audio CD
There have been two releases of 'new' Vivaldi works recently, New Discoveries Volume 2, and this, Orlando furioso, 1714. More accurately, the opera is a new attribution, having previously been considered the work of the young composer Giovanni Alberto Rostori.

With so much mystery surrounding the work, there is still a whiff of the spurious about the new offering. Several arias are missing from the manuscript housed in Turin. More are incomplete. The whole of Act III has been lost. Surely, then, this recreation is more to do with musicology than music, and more Sardelli than Vivaldi?

As ever, Sardelli makes a very clear and convincing case in his notes which accompany the recording. He didn't want to burden the world, he says, with another pasticcio, and so rejected the idea of re-creating the third act. Those arias that are taken wholesale from the Vivaldi operas which pre-date this score (Ottone in villa and Orlando finto pazzo) were recycled by the composer himself, with one single exception. Where the music is supplied by Sardelli, filling in for the missing vocal and melodic lines, Sardelli argues that the only other viable alternative was to abandon the fragments altogether. And anyway, he says, 'in this case, the fragmentation was horizontal, not vertical: what was missing was not whole blocks of music but a few lines of a composition that had survived in part.' Perhaps he is being slightly disingenuous here. 'A few lines' refers, after all, to musical parts rather than bars. What has survived is often no more than the basso continuo part and the first few bars of melody.

Despite reservations, this CD has to represent one of the triumphs of recent times in Baroque music. Sardelli is a thoroughly assured Vivaldian, and there can't be anyone better equipped than he is to divine the composer's intentions.

Two great regrets for me in 2012 were (despite being in France for practically the whole year!) missing the climax of the Tour de France, and missing the Beaune Festival of Baroque Music, where this Vivaldi opera received its world premiere. Luckily, the current CDs capture the essence of what was missed last July. And while the opera does not match Vivaldi's best in this genre (it is not La fida ninfa, for example), it is spirited and engaging nonetheless. From the very first tracks of CD 1 (which feature the scarcely heard Sinfonia RV781, contemporaneous with this opera and probably written as an overture) it gives an illuminating insight into Vivaldi's early years as an opera composer and, at the same time, a superb example of inspired musicianship. A very worthy release from Naive.
2 of 3 people found the following review helpful
Fantastic recording Feb. 14 2013
By KH Birmingham - Published on
Format: Audio CD
Fantastic from beginning to end. The conductor is clearly a scholar as well, and has done a great deal of the work of compiling this edition of the opera. While the extensive program notes can be a little difficult to follow in terms of what was written when and how numbers were rearranged, that's the way it is with early music. The singers were all stellar, and the orchestra was fantastic. Ornamentation was both expressive and stylish. While this wasn't perhaps Vivaldi's greatest work, it's certainly the best recording that one could hope for.
0 of 1 people found the following review helpful
Interesting Vivaldi opera Dec 29 2014
By Dr. Fred E. Koerner - Published on
Format: Audio CD Verified Purchase
It's a treat to have the magnificent French contralto Delphine Galou on an album.
She is terrific.

Overall excellent singing and orchestral work.
3 of 7 people found the following review helpful
Fast Food Vivaldi Jan. 28 2013
By Caveat Auditor - Published on
Format: Audio CD Verified Purchase
Performance-wise, this recording of Orlando furioso is among the best in the series of Vivaldi operas recorded on this label. As such, I do not find it necessary to give individual reviews of the singers, because they are consistently excellent. The same applies to the orchestra and its conductor.

Having listened to the entire recording, curiosity prompted me to check off the arias only in iTunes, so the music jumped from aria to aria while skipping the recitatives. What I had surmised became strinkingly evident: Vivaldi pretty much wrote all the arias in a tempo allegro, without much differentiation.

Fortunately, this is a very early Vivaldi opera (and incompletely preserved at that, since act III is lost), so Stravinsky's famous quote "Vivaldi didn't compose 500 violin concerti, he composed a violin concerto 500 times over" is only valid when it comes to the arias of this opera and does not apply to Il Prete rosso's subsequent exploits in the field.

Don't get me wrong - the music is quite delightful, but it isn't Vivaldi at his best. It makes for excellent background music, however.

Look for similar items by category