isa Marcello

The last Sunday 23 of March, at 18pm, he National Dissemination Center Musical (CNDM) He is closing the current edition of its cycle BAROQUE UNIVERSE Symphony Hall in the National Music Auditorium with an unprecedented program in Spain: the version written in Rome 1720 Opera Tito Manlio from Vivaldi. To this end, it has had some of the leading voices of national and international baroque scene, he Concerto de´Cabalieri, directed by Marcelo on Lisa and voices Maria Espada, Ann Hallenberg, Vivica Genaux, Magnus Staveland Y Nerea Berraondo.
The recovery of a lost opera Tito Manlio (Version of Rome, 1720)
As it very well says Frédéric Delamea , "During Carnival 1719, being maestro di cappella of the Austrian prince Philipp von Hess-Darmstadt, governor of Mantua, Vivaldi composed the music for an opera to be performed at the Teatro de la Villa de Mantua. The opera was titled Tito Manlio and was composed on a libretto by the poet Matteo Noris. this booklet, which he was put to music for the first time 1696 in Villa de Pratolino Florence, He had already obtained a huge success by the theaters of Venice, Ferrara, Livorno, Naples, Genoa, Verona, Reggio or Turín.
The success of the work was due both to music and to the libretto, which cast a whole new light on the tragic opposition between the Roman consul and his son Tito Manlio, as it narrated by Livy, through a frame cleverly constructed around the shadows and highlights of Vertus romaines, founding and unifying values ​​of the young Republic. Thus, It was almost natural for the following year, 1720, the Teatro della Pace in Rome made to Vivaldi, and Red Priest, his first Roman custom, to compose a new opera Tito Manlio on, based on the same libretto by Matteo Noris music but totally new and different from the composite Mantua.
The invitation was received by Vivaldi, anyway, particular conditions: Vivaldi accepted, but according to common practice of the time the opera was written in collaboration with two brilliant Roman composers, Gaetano Boni and Giovanni Giorgi, who made important contributions to opera. Vivaldi was commissioned to write the music for the third Act of this new Tito Manlio, but he certainly supervised the other two acts, respectively entrusted to Boni and Giorgi.
Unlike the Mantua score, the music of Tito Manlio of Rome was unfortunately lost, but its musical wake has come down to us through a recent discovery of three collections of arias in Rome copied and kept in various libraries in Europe that made it possible to revive the opera. Today it is possible to identify more than twenty arias, two duets and a choir, that offer a vivid and enthusiastic image of this work and allow its reconstruction in the form of a recital of arias and ensembles, respecting the dramatic chronology of the libretto.
The representation of this magnificent lost and recovered work is the occasion to reveal the last dramma per musica still unpublished by Vivaldi. This also allows, thanks to the reputation and fame of the famous Venetian, rescue from the shadow two brilliant Roman musicians forgotten but of whom, thanks to this collaboration, we can show his enormous talent. "
Although the work as a whole is extraordinary, without a doubt the genius was Vivlaldi, and so it is reflected in the significant differences between the first two acts, Boni and Giorgi, and the third, composed Vivladi. The arias, of extraordinary beauty and complexity in this third act, pose a challenge for interpreters.
Maria Espada, who played Vitellia, It has a uniform technically voice, high strength and expressiveness. Extremadura thrilled with some of the most beautiful arias of the work. A clear voice, smooth and full of nuances.
Alaskan-born mezzo-soprano Vivica Genaux played Manlio. It is one of the strongest voices in the universe Baroque. His first aria was excessive reverberation, but it was less to more and gave a dramatic aria in the third act of great emotion. Mastered his instrument with great ease.
Ann Hallenberg, as Servilia, demonstrated mastery of acute records also demanded the character. Like the rest of the cast, he looked more in the arias of the third act, more complex and elaborate.
Norwegian tenor Magnus Staveland, He recreated a somewhat intemperate Tito to the beginning. Tuning their problems were resolved over the work until a final aria of great emotion.
Nerea Berraondo played Lucio. It was the surprise of the night. It has a long record, bright treble and bass cavernosa. Too bad his voice low volume, especially in agility, and the second of his two arias where little was heard. Is this an aspect, the voice volume, which can affect the career of a singer. Let's hope that is not the case with Nerea Berraondo since she has a beautiful instrument.