The Violons du Roy began their 2023-2024 season with The Senna Festeggiante by Vivaldi, a little-known serenade which did not attract the crowds at the Maison symphonique, despite the quality of the presentation.
La Seine en fête: this is the translation of this serenade with soloists and choirs by Vivaldi composed on the occasion of the accession of Louis XV to the throne of France.
We briefly presented the work to you in August 2022 on the occasion of the release of the most recent recording, by Diego Fasolis, with the Royal Opera Orchestra, on the Château de Versailles label.
Two allegorical characters, the Golden Age (soprano) and Virtue (mezzo), find happiness on the banks of the Seine, the river being personified by a bass. All pay homage to the sovereign.
The “serenata” genre, especially of such magnitude (80 minutes), is relatively little known. We are between opera and secular cantata. These serenades owe everything to the wealth of the noble patrons who commissioned them for festive occasions.
We know, for example, for Louis XIV, the “Musiques pour les suppers du Roy”. Here, imagine a special dinner sparking a work with a story. The analogy is quite apt since the serenade was given at dusk, but outside.
When it comes to Vivaldi, a serenade has attracted attention in recent years: Andromeda Liberatabrilliantly recorded by Andrea Marcon in 2005. La Sennacomposed around 1724-1725, has had several recordings, including three major ones: Bonizzoni (Glossa), Alessandrini (Opus 111) and Fasolis (CVS), favored by its flawless vocal trio, Gwendoline Blondeel, Lucile Richardot, Luigi De Donato and his flexible direction.
Majestic river
La Senna obviously becomes very relevant in an Olympic year, where Paris will make its river the center of attraction for the 2024 Games. We risk hearing others.
The successful execution of The Senna Festeggiante relies heavily on vocal delivery and instrumental colors. The orchestra must not have too emaciated a sound since the French ensembles of the 18th centurye were quite opulent.
The mass of the violins in Jonathan Cohen’s ensemble and the choice of pitch give a comfortable and lively “symphonic” dimension, close to Alessandrini compared to the fruitiness of the Fasolis version. Cohen does not overplay the contrasts, the dosage of the guitar and the two recorders is excellent. The jewel of Cohen’s orchestral reading is the texture achieved in the accompaniment of the arias “Glace languente” and “Cosi sol nell’aurora” in the second part.
It is very easy to gauge the voices since the soprano (Age d’or) is highlighted from her typically Vivaldian aria “Se qui pace”, a pattern which is reproduced for La Vertu (mezzo) with “In quest’onde » and La Seine with this “Qui nel deepo” which, as we noted, brings to mind the great air of Handel’s La Resurrezione. In short, after a quarter of an hour we know what awaits us, even if more subtle tunes and exchanges “Pieta, dolcezza, fanno il suo volto” from the bass and duet “Qui per darci amabil pace” will follow.
The three soloists were making their debut with the Violons du Roy. Among them is a superstar in the making: bass Alex Rosen, who has all the qualities: scale, authority, bass and agility. Robin Johannsen, is a voice more pointed than round, of the one that we distribute in Susanna of the Marriage of Figaro : not overwhelmingly charming, but an excellent singer. As for Anna Reinhold, a beautifully rounded voice, seen in Lanaudière this summer, she read her score with impeccable professionalism and an impassioned lack of interest in the thing.