- Sinfonia to L’Incoronazione di Dario, RV.719
- Arias for mezzo-soprano, strings & continuo from L’Incoronazione di Dario, RV.719, and Arsilda, RV.700
- Concerto ‘Il Grosso Mogul’ for violin, strings & continuo in D, RV.208
- Concerto for violin, strings & continuo in B flat, RV.367
- Arias for mezzo-soprano, strings & continuo from Motezuma, RV.723
- Concerto for violin, strings & continuo in C, RV.191
- Sally Bruce-Payne
- Adrian Chandler
Established in 1994 for a performance of Antonio Vivaldi’s La Senna festeggiante, La Serenissima has now firmly established itself as one of the leading exponents of the music of Antonio Vivaldi and his Italian contemporaries.
Nearly the entire repertoire of La Serenissima is edited by Director Adrian Chandler from manuscript sources, a testament to their commitment and passion for rare and exciting Italian music and a feat which makes them unique amongst other baroque ensembles.
Sublime music performed at highest level in an acclaimed acoustic, the group’s concerts at Cadogan Hall are always eagerly anticipated.
A Tale of Two Seasons
Vivaldi’s career from the mid-1710s became more and more focused on this theatrical endeavours. As well as composing operas, he played specially written entr’acte concertos and often acted as impresario.
The years 1716-17 saw Vivaldi in control of the Teatro San Angelo and arias and the Sinfonia to L’Incoronazione di Dario are included here. One of the operas (not by Vivaldi) performed in this period was Il Gran Mogul. It has been mooted by Vivaldi scholar Michael Talbot that Vivaldi’s magnificent violin concerto ‘Il Grosso Mogul’ was written for performance between the acts of this opera.
This is the story of the manuscript for the Violin Concerto in B flat, RV.367, which was probably written for the theatre. The manuscript is intriguing as its paper was recycled from parts to other works, including an aria from Motezuma and the concerto in C, RV.191 (another theatrical work), which is included here.
Vivaldi’s galante style of the 1730s provides a sharp contrast to his simpler, more direct approach of the 1710s. If ever there was proof that he didn’t write one concerto 400 times, this is it!