Antonio Vivaldi (1678-1741)
Farnace (1727)
Francesco Corselli (1705-1778) Farnace (1739)
Dramma per Musica en 3 actes composé par Antonio Vivaldi
(1678-1741) à Veneziaen 1727,
revu par Francesco Corselli à Madrid en 1739 sur un livret de Antonio M.
Lucchini
Dramma per Musica in 3 acts
composedbyAntonio Vivaldi (1678-1741)
in Venezia in 1727,
revisedby
Francesco Corselli in Madrid
in 1739 based on a librettoby Antonio Maria Lucchini
Édition
originale/Original recording
Alia Vox 9822
Airs célèbres - Favorite Aires
Alia Vox 9830
Un ajout au disque fort
apprécié de l'un des nombreux opéras de Vivaldi, d'autant
plus qu'il résulte d'une production pour la scène.
Gramophone - 10/2002
A welcome exposure of one of
Vivaldi's many operas, all the better for being based on a
live production.
Gramophone - 2002/10
Extrait du livret / From the liner notes
Un Farnace actuel
Cet enregistrement de l’opéra Farnace de Vivaldi est
présenté pour la première fois de façon complète avec toutes
les arias et les chœurs correspondant à la version de 1731,
(et avec la récupération du recitativo accompagnatto de
Tamiri de 1738). Pour des raisons historiques et
conceptuelles, chacun des trois actes est précédé de
différents exemples de la version de Corselli qui fut
présentée à Madrid en 1739. Le tout est structuré à partir
d’une sélection des meilleurs moments interprétés en public
au cours des deux dernières représentations qui ont eu lieu
au Teatro de la Zarzuela les 26 et 28 octobre 2001.
Jordi Savall
Madrid, octobre 2001
Poursuivez votre lecture - texte intégral
AV9822 :
Cliquez ici puis faites une recherche avec l'expression:
FARNACE
Anup-to date version of Farnace
The present recording of
Vivaldi’s opera Farnace is the first complete recording,
including all the arias and choruses from the 1731 version,
as well as restoring Tamiri’s recitativo accompagnato from
the 1738 version. For historical and conceptual reasons,
each of the three acts is preceded by different examples
from Corselli’s version of the opera, which was presented in
Madrid in 1738. The entire version is built around a
selection of the best interpretations from the last two
performances recorded live at Teatro de la Zarzuela in
Madrid, on 26 and 28 October, 2001.
Jordi Savall
Madrid, october 2001
Read on - Full text
AV9822:
Click here- then search for FARNACE
Reviewer:
Lindsay Kemp "Jordi
Savall directs with a sure hand‚ drawing exciting and committed
playing from Le Concert des Nations and showing fine control of pace
and momentum. The recitatives‚ so often rattled through in the
studio‚ are much more convincing and natural for being part of a
real production‚ and so too are the arias‚ with all the singers
putting in strong and stylish performances. Top marks for acting go
to the gloriously dignified contralto of Sara Mingardo as Tamiri‚
with Adriana Fernandez’s ranting Berenice not far behind‚ but Furio
Zanasi lacks a little in vocal resolve for the stubborn Farnace‚ and
Gloria Banditelli could have offered more artfulness as his
resourceful sister Selinda. Sonia Prina and Cinzia Forte both do
what needs to be done with their rather conventional trouser roles."
"Personnages bien campés, cohérence dramatique convaincante: voici
l'un des opéras de maturité les plus réussis."
"Bouleversante Sara Mingardo, Tamiri hallucinée et torturée dans ses
sentiments d'épouse méprisée, de fille haïe et de mère protectrice,
sublimement impliquée dans les récits... Superbe Farnace de Furio
Zanasi, timbre impérial, expression juste servie par une palette
subtile de nuances. Pour Bérénice, la furieuse et sanguinaire
reine de Cappadoce, ... Adriana Fernandez, voix claire, légère et
acérée, darde des traits trop frêles, trop pâles. Étonnante Gloria
Banditelli pour Selinda, technique solide, émission ferme et bien
timbrée. Le Gilade de Cinzia Forte déçoit, dans d'éblouissants airs
pour castrats."
"Ce Farnace est certainement, malgré ces réserves, la
réalisation la plus passionnante depuis le Catone de Scimone,
en 1984. Sans doute parce que Savall, modelant à la perfection un
Concert des Nations, généreux et épanoui, se révèle un vivaldien
authentique."
"Un continuo magistral, la direction raffinée de Savall, son
sens inné du coloris et .... son réel mépris pour l'effet de
manche n'y feront absolument rien: les grands chanteurs,
absolument maîtres de leurs moyens... sont ici aux abonnés absents.
Où sont les sensibilités ? le charme ? les individualités ? ... les
timbres ? "
The Opera Quarterly,
Vol. 19, no. 4 (2003)
pp. 802-806
A devastating
evaluation
Reviewer: Roger Pines
Excerpts:
"Vivaldi's work was resurrected for a 2001 Madrid performance, but
the results, as heard here, have not been worth the effort."
"The title role (five arias) is taken by baritone Furio Zanasi whose
timbre is pleasant but never distinctive... He tries hard for
expressiveness and often succeeds. As long as the music does not
take him to either extreme of range, he is perfectly acceptable, but
he remains too much of a ligthweight."
"Berenice, seemingly the prima donna role here with five arias, is
poorly portrayed by Adriana Fernandez."
"Cinzia Forte sings Gilade (four arias) in a performance hardly
above conservatory level."
With Sara Mingardo in the role of Tamiri "... ther is a lack of
variety of color and a very limited upper range, but also a rarely
encountered warmth and roudness in the dark (but nevre too
dark) tone."
"All in all, ..., it is distressing to see so much expense lavished
on a work and performance that do not deserve the attention."
1) Jordi Savall Records Farnace (Plus
excerpts from Corselli's)
(Click here)
2) Vivaldi/Corselli
Farnace, RV 711 - a few excerpts from an exhaustive review by
Mr. Robins::
- "Farnace is said to have been Vivaldi's own favorite among
his operas. It was certainly one of the most successful, being
frequently revived...".
"As Savall mentioned, the role (of Farnace ) was written for a tenor,
but Zanasi's splendid vocal acting and mostly accurate singing over a
wide range fully justifies Savall's decision to use a baritone."
"Mingardo (as Tamiri) is ... at her most moving, as indeed she is in the
act III aria in which she senses a weakening of Farnace's stern
resolve."
"... Adriana Fernandez's portrayal of the role (of Berenice) is (not)
very convincing, (although) well she sings. She simply sounds
too nice to be mouthing blood curdling threats, ..."
"The playing of Savall's Le Concert des Nations is full of warmth,
fire, and affection. If it is not always as technically finished as it
might be, it sets the seal on a splendid achievement featuring what is
almost certainly overall the strongest, most satisfying cast yet
assembled foa Vivaldi opera on record
"Savall used the 1739 revised
manuscript of Francesco Corselli for this recording. First employed
while presenting Farnace in Madrid, it comprised Vivaldi’s 1731 version of
the opera, intended originally for Pavia, plus a few selections
Corselli himself added. No one should be surprised at this; it was
standard Baroque practice to treat operas as something more than
templates, but certainly less than finished, unalterable works. In a
world where opera was the equivalent of primetime entertainment,
hundreds of them were adjusted to fit local talents and tastes without
a thought. Corselli’s changes were remarkably reticent, all things
considered. He supplied a sinfonia, and a recitative/aria for Berenice
to act I; an aria for Farnace, to act II; and a march to act III.
"
"This is why I can’t
recommend the new issue of Farnace on Naïve. Because the Vivaldi Edition’s editors
decided to reissue it without any of the Corselli material Savall
recorded, not even providing it as an audio footnote following the
opera. This is certainly their choice, and can be justified by simply
pointing out Corselli isn’t Vivaldi, and only the latter is within the
purview of their efforts..."
"In short, if you want Farnace,
you’re better off sticking with Alia Vox 9822. It’s well worth it."
# 19
(Été/Summer
2002)
Appréciation
Evaluation
Goldberg a cessé de publier
avec le # 54
~~~~~~
Goldberg is no longer available.
# 54 was the last issue.
Analyste: Fréderic
Délaméa
Extrait significatif:
"...
la restitution de Savall est musicalement étincelante. Elle
s'impose principalement par l'exceptionnelle prestation du Concert
des Nations dont l'homogénéité des pupitres, la solide assise
rythmique et la précision des attaques peignent avec élégance et
force mêlées les micro-climats subtils de l'oeuvre vivaldienne.
Savall sculpte avec attention le matériel orchestral, imposant des
tempi judicieux et variés, et préservant à tout instant la
respiration dramatique de la partition."
Reviewer: Fréderic Délaméa
A short excerpt: "Not
only is Savall's reconstruction almost irreproachable in terms of
philology, it contains a good many musical fireworks as well. The
performance of the Concert des Nations is its most outstanding
element: rhythmic stability, precise attacks, and the uniform sound
of the various sections of the orchestra combine elegantly to convey
the subtle micro-climates of Vivaldi's work. Savall carefully
sculpts the orchestra's sound, asks for varied and judicious tempi,
and takes the dramatic resilience of the score into consideration at
all times."
Autres références disponibles via la base de
données de Todd McComb:
(Site:
http://www.medieval.org)
Date de création de cette
fiche: 4 avril 2006
Dernière
mise à jour de cette fiche:
05-Apr-2011
This page was first published on:
April 4, 2006
This page
was updated on:
04/05/11
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