Sublime disc, from all points of view. A young mezzo-soprano blends in perfectly with this Venetian repertoire from the early 18th century.e century. She manages to negotiate the difficult vocalizations (“Astri aversi” fromAmalasunta, de Chelleri) with exceptional assurance, without ever giving the impression of a sporting achievement. There is also this sublime vocal line in the control of the breath and the roundness of the resonance: the aria “Con favella de’ pianti” by Ristori only lasts two minutes but, staggering in perfection and emotion, it puts the table for “Sovvente il sole” by Vivaldi. Then there is the beauty of the orchestra, its timbres, its dosage, its way of being biting without lapsing into demonstrativeness (The Olympiad by Vivaldi). At the head of the Consort Théotime Langlois de Swarte, former first violinist of the flourishing Arts. The whole is crowned by the perfect program of the musicologist Olivier Fourés, who unearthed at the sources of the contemporaries of Vivaldi in the history of this Venetian theater two thirds of world premieres.
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