VIVALDI Concertos and Sinfonias / Marcon 4745092

Marconżs Venice Baroque Orchestra adopt the suave, super-cultivated approach, though there is still room for fire and dancing.

. . . the spotlight is completely on the orchestra, which is lithe, colourful, virtuosic, hits the ground running . . . the enjoyment emanating from the players is palpable . . .

Violinist Giuliano Carmignola plays with a polish that strikes some listeners as breathtaking . . . Andrea Marcon's Venice Baroque Orchestra plays with as much assurance as the soloist.

Previous recordings by Andrea Marcon and the Venice Baroque Orchestra testify to their Vivaldian ardour . . . In the opera-related pieces the abundant energy and crisp attack of these players is indeed exciting and appropriately arresting. The opening movement of the G major Sinfonia, RV 146 upon Vivaldi's effective means of creating dramatic anticipation . . . I have little but praise for the disc. Marcon and his instrumentalists bring the music to life with irrepressible verve and stylistic conviction. Ornamentation is tasteful: the Largo of the D minor Concerto, RV 127 is a case in point ż dynamic shading effective and the almost ubiquitous presence of plucked string instruments in the continuo group, a hallmark of Marcon's performances, a pleasing dimension. Perhaps the vital allure of the Venetians' approach is never more seductive than in the Ciacona of the Concerto in C major, RV 114, nor more poetic than in the slow movement of the Sinfonia in B minor, RV 168 . . . An invigorating release.

There is common ground in many of these "concerti per archi", gut they contain a dazzling kaleidoscope of moods and textures. Andrea Marcon directs vivid, strongly etched performances that often reach fiery intensity. Things get off to a sizzling start with the precocious beginning of RV111a, and the opening Allegro of RV157 is a perfect illustration of Marcon's fondness for wonderfully incisive yet flowing continuo. But there are also notable moments of exquisite beauty, such as a gorgeously played Largo from RV127. The Adagio in RV121 is an evocative hushed moment graced with lovely theorbo playing. It is easy to notice the athleticism of the Venice Baroque Orchestra's vigorous playing of fast movements, yet it is equally significant that the group perform Vivaldi's slower music with tenderness . . . these are glory days for Vivaldi's music.

Wo heute höchste Vivaldi-Kompetenz liegt, das zeigt diese CD wiederum eindrücklich . . . waches Stilbewusstsein und schäumendes Temperament [gehen hier]die schönste Verbindung ein.

Es war . . . eine gute Idee, diesen Stücken mal eine ganze CD zu widmen. Das Venice Baroque Orchestra hat 9 Concerti und 3 Sinfonie aufgezeichnet. So ein Programm wäre etwas zu einseitig, wenn der Komponist nicht Vivaldi hiesse, der immer in der Lage ist, neue Seiten aufzuschlagen und neue Ideen über die Bühne zu bringen. Und Andrea Marcon und seine Kollegen spielen energisch und farbenreich, und lassen keinen Aspekt dieser Stücke unter den Tisch fallen.

Le Venice Baroque Orchestra est une phalange d'archets exceptionnelle, conduite sur une palette de nuances infinie par son mentor et continuiste, Andrea Marcon . . . Sous ces archets magiques, cela touche parfois au chef-d'żuvre.

Les cordes . . . font un excellent travail, et il faut particuličrement saluer l'archiluth si poétique d'Ivano Zanenghi. Dans le domaine encore peu enregistré des «sinfonia per archi», l'Orchestre Baroque de Venise s'impose facilement . . .

... alcanzando un brillo orquestal rayano en el virtuosismo colectivo. En ocasiones, los movimientos son dirigidos con rapidez diabólica, casi como si quisieran emular a la torrencial imaginación de un autor que fue capaz de escribir medio millar de conciertos. ... la sustancia ... adquiere el valor de un reflejo, como esa belleza esporádica y retorcida de los relámpagos.