For all the charges of unacceptable schematicism levelled at Vivaldi and his kind, Monica Huggett, as supremely imaginative as well as technically and stylistically accomplished an exponent of the baroque violin as any, demonstrates clearly that this music benefits from the guiding hand of a charismatic interpreter: her delivery of Vivaldi’s exuberant, even manic, inspiration is never less than involving and, in the slow movements, never less than touching.

Attilio Ariosti was a particularly versatile Italian composer, musician and poet, known throughout Europe. As an operatic composer his name was joined in London by those of Handel and Bononcini, and his 'Carillano' of 1723 and 'Vespasiano' of 1724 were much acclaimed. The cycle of Six Cantatas 'The Flowering and Fading of Love', only recently discovered and here receiving its first recording, forms a sonnet sequence about the journey of love, ranging from 'La Rosa' (the Rose) to 'Il Naufragio' (The Shipwreck) and the final 'La Gelosia' (Jealousy).

Though several of Vivaldi’s most delightful concertos are written for the flute, he left relatively little chamber music for the instrument: the ‘Il Pastor Fido’ set which used to be attributed to him is now known to have been composed by Nicolas Chédeville. On this valuable new recording, Mario Folena and Roberto Loreggian offer what seems to be all that is left of Vivaldi’s output for the genre, informed by the latest scholarship and in delightful and lively period-instrument recordings. They couple it not with the previously recorded ‘Il Pastor Fido’ sonatas, but with a genuine rarity: an arrangement of ‘Spring’ from The Four Seasons made by Jean-Jacques Rousseau, the composer and philosopher who argued that, in politics as in music, Man should return to first principles.

Motezuma is Vivaldi’s only opera set in the New World. The manuscripts for this rarely performed and rarely heard opera were only rediscovered in 2002 and currently only one CD version exists recorded by Alan Curtis and Il Complesso Barocco. Of the CD recording, BBC Music Magazine wrote: “The instrumentalists of Il Complesso Barocco are on excellent form as indeed is Vivaldi himself in a rewarding score”.

It is now generally accepted that Vivaldi wrote ten cello sonatas – one of them now lost. Six (RV 47, 41, 43, 45, 40 and 46) of the surviving nine were published posthumously as a set, in Paris, by Charles-Nicolas Le Clerc around 1740. The other three survive in manuscript collections: RV 42 (along with RV 46) is preserved in the library at Wiesentheid Castle at Unterfranken in Germany; RV 39 and 44 (along with RV 47) are to be found in a manuscript in the Naples Conservatoire.
Geminiani’s opus 5 consists of six cello sonatas, and was first published in Paris in 1746. The twenty years either side of 1740 saw the cello rise to a very fashionable position in French musical society, largely at the expense of the bass-viol – a change of fashion which stirred such strong emotions that in 1740 Hubert Le Blanc published his fierce Defense de la basse de viole contre les entreprises du violon et les pretensions du violencel. Music such as that by Vivaldi and Geminiani which is played here by Roel Dieltiens and his colleagues must have made a powerful counter-case for the cello.

Amazing to think in these days of plenty, when Vivaldi's sun has surely never shone brighter, that there can still be examples of his 660 or so concertos which have yet to be heard on record, but this invaluable set contains one such work, the G minor concerto RV459, as well as all the other works which the Venetian composer originally wrote for an instrument for which he evidently conceived a great affection, well suited as it is to the virtuoso roulades and trills which distinguish his writing for his own instrument, the violin, as well as testing the soloist with great demands on breath control in the fast outer movements and lyrical intensity in the central slow ones.

This anticipated second recording in The Avison Ensemble's Baroque series includes a complete recording of Antonio Vivaldi's virtuosic violin concertos by the outstanding period instrument orchestra. Directed by Pavlo Beznosiuk, Britain's foremost Baroque violin virtuoso, the ensemble presents an insightful performance of the masterpiece that is brimming with energy. Vivaldi's Opus 8 includes 'The Four Seasons', without a doubt Vivaldi's best-known work. Each of the twelve concertos is extremely demanding and Beznosiuk's virtuosity permeates throughout the performances. The thematic elements within each innovative work result in a collection that is colourful, fresh and emotionally charged. Opus 8 is a true testament of Vivaldi's ability for invention and variation.

Claudio Scimone once again conducts the extraordinary I Solisti Veneti enssemble, playing one of Vivaldi's more cheerful concertos for mandolin. When you listen to this recording you can dream of being walking through several small streets of Venice, feeling its characteristic humidity and the flavor of that fabulous historical city.

Even in an age of thrilling countertenors, Max Emanuel Cencic stands out for the heroic scale and brilliance of his voice, his expansive lyricism, and his imagination and enterprise in choice of repertoire. Cencic has excelled as both a soprano and a mezzo-soprano, and Fantastic Cencic showcases his extraordinary interpretative range – from the great and lesser-known masters of the Baroque to the bel canto of Rossini and composers of the Romantic era from Schubert to Strauss. The third of these three CDs comprises recordings from the early 1990s, shortly after Cencic left the Wiener Sängerknaben, which are released here for the first time.

This is the 51st title in the Vivaldi Edition and the 6th volume, out of approximately 12, of the series dedicated to the violin concertos whose manuscripts are held in the National Library of Turin. Following two successful volumes of concertos for solo violin and orchestra recorded separately in the Vivaldi Edition, virtuosos Riccardo Minasi and Dmitry Sinkovsky now join forces to record pyrotechnic concertos for two violins and orchestra.

Cecilia Bartoli presents a brand-new album of arias by Antonio Vivaldi, two decades after her ground-breaking 'Vivaldi Album'. The original Vivaldi Album was a seminal event, launching a substantial revival of Vivaldi s long dismissed operas and setting a standard for classical concept albums that stands to this day. In the 20 years since, Cecilia Bartoli has recorded less than 5 minutes of additional Vivaldi music, making her return to this composer with a new album a true event. Bartoli is joined on this recording by French baroque experts Ensemble Matheus under the baton of Jean-Christophe Spinosi.

The four concerti in The Four Seasons of Antonio Vivaldi have probably earned the distinction of being the most frequently recorded classical works in the digital era. Originally published as part of a set of 12 concerti as Vivaldi's Opus 8, the other eight concerti also get some attention, particularly La tempesta di mare, but the set as a whole is comparatively seldom recorded. In Europa Galante's Virgin Classics release, Vivaldi: Il cimento dell'armonia e dell'inventione, violinist Fabio Biondi, who has recorded The Four Seasons at least once before for Opus 111, leads his expert ensemble in the whole of the Opus 8 set.

Cecilia Bartoli and Sol Gabetta – two of the most captivating women in classical music – are joining together for a new album ‘Dolce Duello’ to be released on Decca Classics on 10th November. It is a collection of Baroque masterpieces which showcase the stunning combination of voice and cello in a series of dazzling duels and wondrous arias. To coincide with the release, Bartoli and Gabetta will be performing on a European tour with Cappella Gabetta and conductor and violinist Andrés Gabetta.

For several decades beginning in the 1950's I Musici was the leading ensemble specializing in Italian Baroque music, and their performances were standard-setting in their time. Their recordings still hold up exceptionally well even though approaches to early music, driven by the period instrument revolution, have changed somewhat since then.

The music in this collection, inspired by religious thought and liturgical text, has been selected in honor of Pope John Paul II's visit to Paris in August of 1997 to celebrate Mass as part of the Worldwide Days of Youth. Much of the music here is very familiar to even casual listeners to classical music. From J. S. Bach's "Jesu, Joy of Man's Desiring," to a rousing version of "Hallelujah" from Handel's 'Messiah,' this CD plays like a greatest hits of church music from the last 400 years.