Credits:

Adele Charvet, Théotime Langlois de Swarte, Le Consort

Description:

Adele Chalvet makes a breakthrough! The breath of the Vivaldi era with a flexible ensemble of ancient music] Baroque operas are exciting the world of opera, and singers with a high aptitude for ancient music are widely active in France. Mezzo-soprano Adele Chalvet, who is making great strides at the forefront of this trend, has joined forces with Le Consort, a talented group led by harpsichordist Justin Taylor and baroque violinist Théotim Langlois de Svarte, who represent the new generation in France, for a long-awaited collection of opera arias under their solo names. A long-awaited solo recording of opera arias on the ALPHA label. The collection sheds light on the Venetian opera world at a time when Vivaldi, the "Red-Haired Priest," enjoyed great popularity in a fiercely competitive society, and offers an intimate listening of the works that thrilled the Teatro Sant'Angelo, one of the most popular theaters that dominated the water city at the time.With the cooperation of Olivier Fré, a musicologist who has made great contributions to the study of Vivaldi in recent years, and an expert on ancient music and dance who plays the baroque violin himself (he also takes care of the liner notes), the majority of the recordings are world premiere recordings! The selection of music is astonishing, and you will strongly feel that there were many composers in Venice who wrote music that is not inferior to Vivaldi's works, including not only Vivaldi but also Querreri, who was highly appreciated in Germany and Sweden in later years, and Ristori, who was also known to play with the Dresden Court Orchestra, which Bach admired. The selection of music is astonishingly strong. The fact that any of the secret pieces can be enjoyed with such freshness is due not only to the precise and delicate expression of Chalvet, who first gained attention as a lieder singer, but also to the exquisite interpretation of Le Consort, which flexibly touches on the subtleties of each work. The orchestra, which uses three large theorbo lutes in the same number as the cellos and can expand and contract from chamber music with just a few singers to an intrepid orchestral sound, conveys the full appeal of the late Baroque musical world that foreshadowed the steps toward the coming Rococo era. Naxos Japan