. . . the sound is indeed hard-driven and exciting, full of those pulsating unisons and relentless sequences with which Vivaldi powers his music. But there is also incredible delicacy and refinement here, and Carmignola's wiry sound is a world away from the tubby, rich Vivaldi performances of yore. There are countless angular surprises, one echo of Bach's Third Brandenburg, and one concerto which ignores the violin's top string, showing Vivaldi's continual inventiveness. Superb support from the Accademia Bizantina.
. . . [Vivaldi's concertos are] packed full of invention, novelty and drama . . . Carmignola is certainly master of his [instrument], not simply technically but expressively too. His bow almost talks as it shapes a motif, turns an ornament, sings a line. He's well matched by 12 accompanying strings with lute, organ and harpsichord continuo. Their ensemble is first-rate. Their recording venue . . . gives a bloom to the instrumental sound, while the recording retains every detail and, although not in surround sound, a clear impression of the soloist in front of the crisp accompaniment.
Giuliano Carmignola is a wonderfully accomplished player: with minimal use of vibrato, he phrases the melodic passages in an irresistibly expressive manner and performs the more challenging passagework with breathtaking precision and purity . . . an outstanding solo performance. The orchestral playing is certainly vivid . . . lovely solo playing and such inventive music . . . a firm recommendation.
. . . these late concertos show that Vivaldi's innovative tendencies continued till the end . . . [they] have drama and color aplenty and commend themselves to any lover of Baroque music . . . The program starts with RV 187, a concerto with, I think, an equally dramatic opening. There's an inexorable tread in the orchestra as of some fate approaching . . . and Accademia Bizantina (and the DGG engineers) respond to this with great heft, including a powerful presence in the bass that you don't often hear in period-authentic musical performance. The whole movement strikes me as weighty, freighted with a sense of impending doom -- or something like it in emotional terms. Very impressive music indeed. When the violin enters, it isn't Orpheus taming the nay-sayers of hell but a player equally caught up in the tragic declamations of the orchestra . . . [Giuliano Carmignola] represents a far better sound picture of what Vivaldi heard from his soloists -- and orchestras as well. For me, this is revelatory playing, framed in grand style by DGG's powerful (but not overpowering) recording . . .
. . . Carmignola has energy (and bow hair) to burn in this album of spirited violin concertos . . . These pieces contain white-hot fast movements, played with extraordinary dexterity and detail by Carmignola, and inventive slow movements that, even with the proscribed absence of vibrato, sport rich legato lines that may stick in your head for a while. The Accademia Bizantina, conducted by Ottavio Dantone, backs Carmignola with the exuberance of a punk band.
. . . just listen to the brilliant violinist Giuliano Carmignola . . . bring out the daring contrasts, colors and dazzling technical innovations of some of the composer's lesser-known violin concertos. The Accademia Bizantina under Ottavio Dantone stays true to its mission to make music "like a great string quartet," articulating fast passages with bracing crispness and bringing poetry to the slow movements.
The musicality and precision is clear throughout these concertos and Carmignola's enthusiasm and passion for the music is well-defined.
Sein Spiel ist getränkt mit Musikantik, wirkt improvisierend ohne Angst vor Unsauberkeiten, die denn auch nie falsch, sondern vielmehr sehr lebendig und stimmig wirken. Die Aufnahmen sind im Juni 2012 entstanden, in der Nähe schwerer Erdbeben, welche die Region in dieser Zeit erschüttert haben. Es sei für alle Beteiligten eine wirklich sehr emotionale Zeit gewesen, schreibt Carmignola im Booklet. Hört man sich die Aufnahmen an, glaubt man ihm das auch.
. . . [Giuliano Carmignola spielt] tatsächlich wie auf dem Feuerstuhl, mit maskulinem Charme, forschem Drive und Funken schlagender Virtuosität. Und Ottavio Dantones Accademia Bizantina heizt hochdynamisch mit . . . Carmignola pointiert durch feine agogische Manöver die Binnenspannung, und er führt dank seiner technisch-klanglichen Souveränität das Maskenhafte des genial-kapriziösen Spiels mit Posen und Ausdrucksgesten vor. So entdeckt die Aufnahme das Doppelbödige im Kosmos Vivaldi.