ORLANDIANA -- Vivaldiana

Speranza

Fourteen years later after the first ORLANDO FURIOSO, Vivaldi drew a new score from this earlier model.

For it the version of 1727 is broadly based on that of 1714, whose framework and big dramatic scenes it conserves.

It can hardly be confused with its forerunner.

On the contrary, the revision bespeaks a far-reaching adaptation which results in a work of powerful originality: here two centuries of Venetian theatre mingle in a unique balance that no one ever tried to imitate -- not even Vivaldi in his later melodrammi.

The revision of 1727 shows its mettle, first of all, in the replacement of the entire complement of ARIE.

A decision justified by a new distribution of VOICE RANGES, but above all by the evolution of Vivaldi's vocal writing since his first ORLANDO FURIOSO.

The latter's concise arias with brief introductory RITORNELLI and restrained virtuosity now yield to number presenting the plenitude characteristic of grand Vivaldi melodramma: their melodic appeal, their luminous instrumental colour, and their electrifying rhythmic vitality repose on a rich string accompaniment, often more complex and varied than in 1713, and above all on a radiant vocal virtuosity that offers substantial scope to pyrotechnical display yet without ever becoming its servant.

But the revision also affects the hub of the drama, through a magisterial rewriting of the great soliloquy scenes, notably those of Orlando's madness.

A reworking, moreover, that was not imposed by the change of register of the title role (bass in 1713-1714, contralto in 1727), and which therefore attests to a specific creative desire on Vivaldi's part.