After lengthy and thorough research, backed by forty years of studying Vivaldi’s sources and curating his immense catalogue (RV), Federico Maria Sardelli has managed to trace, reconstruct and restore no fewer than 18 arias from La Costanza Trionfante, RV 706-A, a lost work that bears witness to the Red Priest’s most flourishing creative period, namely his full maturity. It is a substantial fragment which, quantitatively, represents about a half of the opera and offers a concrete and surprising idea of its great quality. At the head of the modo antiquo baroque orchestra and with a cast of great value, Federico Maria Sardelli offers the public the first performance in modern times of this substantial fragment woven with unpublished arias: a unique opportunity to enjoy a title that is today completely new and absent from the repertoire. A window onto a chapter of Vivaldi’s work rich in extraordinary beauty.

Misattributed in the past to composers such as Pergolesi, the enduring success of Pietro Auletta ’s L’Orazio saw it staged and adapted so many times over the centuries that its original 1737 structure is now lost. This is the opera’s first revival in modern times. The style of L’Orazio reflects the end of the Baroque period at a time in which refined galant and pre-Classical inflections were taking hold. The work’s comic narrative of romantic complications and rivalries take place amidst scenarios in which the music lessons of maestro Lamberto alternate with dubious theatrical engagements and carnival masquerades.