4/3/2023 0 Comments Vivaldi tenor arias![]() ![]() At the Queen Elizabeth Hall we had just the arias, linked by written plot summary. In the 18th century, a pasticcio would have recitative by a particular composer to bind the arias together. The Venice Baroque Orchestra presented all of Metastasio’s arias but omitted all of the recitative. It was common to replace aria text and even to trim the recitative, so that for instance Vivaldi’s version of the opera makes significant changes to the aria texts. ![]() ![]() The Venice Baroque Orchestra chose to present Metastasio’s libretto as he first produced it, ignoring the many changes that subsequent composers made. Pasticcios were common in the 18th century, with music taken from a variety of composers. At their concert at London’s Queen Elizabeth Hall on Monday 28 May they present a pasticcio made up of music from 16 composers. Whilst Vivaldi’s setting has received recent revivals, the Venice Baroque Orchestra under Andrea Marcon decided to explore the full gamut of settings of the libretto. In fact the plot summary could be read as much as “Carry on up the Olympics” as an opera seria. The plot is the usual mix of co-incidences, mistaken identities and love thwarted. Metastasio’s libretto, L’Olympiade was a popular choice for composers in the 18th century with settings by composers such as Caldara, Hasse, Vivaldi, Galuppi, Cimarosa, Paisiello and Cherubini. The Venice Baroque Orchestra brought to London their pasticcio, selecting 16 settings, organized around the original play. ![]()
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