Episodes
| Series | Episode | Title | First Broadcast | Repeated | Comments |
|---|---|---|---|---|---|
| 2008 | 01 | 20080421 | 20090706 (R3) | Donald Macleod explores Vivaldi's large and little-heard musical catalogue, revealing an energetic and diverse composer. He explores the story of the 20th-century Vivaldi renaissance. Kreisler: Concerto in C for violin and string orchestra with organ 'in the style of Vivaldi' (Finale: Allegro assai) Gil Shaham (violin) Orpheus Chamber Orchestra Robert Wolinsky (organ/conductor) naive OP 30416, Trs 1-4 Motet: In furore iustissimae irae, RV 626 Sandrine Piau (soprano) Stefano Montanari (violin) Accademia Bizantina Ottavio Dantone (conductor) Trio in C for violin, lute and basso continuo, RV 82 Rolf Lislevand (lute) Manfred Kraemer (violin) Beatrice Pornon (theorbo) Eduardo Eguez (guitar battente) Guido Morini (positif organ) Astree E 8587, Trs 7-9 Dixit Dominus, RV 807 Roberta Invernizzi, Lucia Cirillo (sopranos) Sara Mingardo (contralto) Paul Agnew, Thomas Cooley (tenors) Kornerscher Sing-Verein Dresden Dresden Instrumental-Concert Archiv 00289 477 6145, Trs 1-11. A look at Vivaldi's musical catalogue, focusing on the 20th century Vivaldi renaissance. | |
| 2008 | 02 | 20080422 | 20090707 (R3) | Donald Macleod considers whether there is truth in the claim, once made by the Italian composer Luigi Dallapiccola, that Vivaldi did not write hundreds of different concertos, but actually wrote the same concerto many times over. Concerto in C for two trumpets, strings and basso continuo, RV 537 Gabriele Cassone, Luca Marzana (trumpets) Zefiro Alfredo Bernardini (conductor) naive E 8679, Trs 1-3 Concerto in A for for strings, RV 158 Collegium Musicum 90 Simon Standage (conductor) Chaconne CHAN 0867, Trs 1-3 Concerto in F for recorder, oboe, violin, bassoon and basso continuo, RV 98 (La tempesta di mare) Michael Schneider (recorder) Hans-Peter Westermann (oboe) Mary Utiger (violin) Michael McCraw (bassoon) Rainer Zipperling (cello) Harald Hoeren (harpsichord) Deutsche Harmonia Mundi RD77156, Trs 4-6 Concerto in B minor for four violins, cello, strings and basso continuo, RV 580 John Holloway, Monica Huggett, Catherine Mackintosh, Elizabeth Wilcock (violin) Susan Sheppard (cello) Academy of Ancient Music Christopher Hogwood (conductor) L'Oiseau-Lyre 410 553-2, Tr 2 Concerto in E flat for bassoon, strings and continuo, RV 483 Klaus Thunemann (bassoon) I Musici Philips 416 355-2, Trs 7-9 Concerto in C for violin, two string orchestras and basso continuo, RV 581 (Per la santissima assontione di Maria Vergine) Antonio de Secondi (violin) Concerto Italiano Rinaldo Alessandrini (conductor) naive/Opus 111 OP 30383, Trs 26-28. An examination of the claim that Vivaldi merely rewrote the same concerto many times over. | |
| 2008 | 03 | 20080423 | 20090708 (R3) | Donald Macleod explores Orlando Furioso, considered by many to be Vivaldi's operatic masterpiece, and written during a lifetime devoted to working in this form. Orlando Furioso, RV 728 (1st mvt) Matheus Jean-Christophe Spinosi (conductor) naive/Opus 111 OP 30393, CD1 Tr 1 Orlando Furioso (excerpts from Act 1) Angelica - Veronica Cangemi (soprano) Alcina - Jennifer Larmore (mezzo-soprano) Astolfo - Lorenzo Regazzo (bass-baritone) Bradamante - Ann Hallenberg (mezzo-soprano) Orlando - Marie-Nicole Lemieux (contralto) naive/Opus 111 OP 30393, CD1, Trs 5, 7, 9, 11, 13 Orlando Furioso (Act 1, Scene 11) Ruggiero - Philippe Jaroussky (countertenor) naive/Opus 111 OP 30393, CD1, Tr 24 Orlando Furioso (Act 2, Scenes 11-13) Medoro - Blandine Staskiewicz (mezzo-soprano) Choeur Les Elements naive/Opus 111 OP 30393, CD 2, Trs 22-35. Exploring Orlando Furioso, considered by many to be Vivaldi's operatic masterpiece. | |
| 2008 | 04 | 20080424 | 20090709 (R3) | Donald Macleod explores Vivaldi's friendship with the German violinist Johann Georg Pisendel and discovers why so much of the Italian composer's music eventually came to light in a library in Dresden. Concerto in F for violin, two oboes, two horns, bassoon, strings and basso continuo, RV 571 Giovanni Guglielmo (violin) L'Arte dell'Arco Christopher Hogwood (conductor) Deutsche Harmonia Mundi 05472 77501 2, Trs 16-18 Sonata in G minor for violin and continuo, RV 26 Fabio Biondi (violin) Rinaldo Alessandrini (harpsichord) Maurizio Naddeo (cello) Opus 111 OPS 30-154, Trs 1-5 Nisi Dominus, RV 803 Carolyn Sampson (soprano) Tuva Semmingsen (mezzo-soprano) Hilary Summers (contralto) The King's Consort Robert King (conductor) Hyperion CDS44181, Trs 13-20 Concerto in G minor for violin, two recorders, two oboes, bassoon, strings and basso continuo, RV 577 (for the orchestra of Dresden) Peter Hanson (violin) Peter Holtslag, Catherine Latham (recorders) Paul Goodwin, Lorraine Wood (oboes) Alberto Grazzi (bassoon) The English Concert Trevor Pinnock (conductor) Archiv 445 839-2, Trs 13-15. Exploring Vivaldi's friendship with German violinist Johann Georg Pisendel. | |
| 2008 | 05 LAST | 20080425 | 20090710 (R3) | Donald Macleod concludes his exploration of Vivaldi with an examination of the music published during the composer's own lifetime, from his variations on La Follia to his flute concerto La Notte. Sonata (20 Variations on La Follia) in D minor for two violins and continuo, RV 63 Manfredo Kraemer, Mauro Lopes (violins) Balazs Mate (cello) Xavier Diaz-Latorre (guitar) Xavier Puertas (violone) Carlos Garcia-Bernalt (harpsichord) Alis Vox AVSA9844, Tr 15 Concerto in G minor for flute, strings and continuo, RV 439 (La Notte) Janet See (flute) Jakob Lindberg (archlute) John Toll (organ) Taverner Players Andew Parrott (conductor) EMI CDC 7 47700 2, Trs 9-13 Sonata in D minor for violin and continuo, RV 14 Elizabeth Wallfisch (violin) Richard Tunnicliffe (cello) Malcolm Proud (harpsichord) Hyperion CDA67467, Trs 10-13 Concerto in B flat for violin, strings and continuo, RV 362 (La caccia) Academia Montis Regalis Enrico Onofri (violin/director) naive OP 30417, Trs 13-15 Sonata in B flat for cello and continuo, RV 46 David Watkin (cello) Helen Gough (continuo cello) David Miller (baroque guitar) Robert King (chamber organ) Hyperion CDA66881/2, CD 2, Trs 9-12. Donald Macleod examines the music published in Vivaldi's own lifetime. | |
| 2011 | 01 | The Forgotten Baroque Master | 20110926 | Donald Macleod explores the music of Vivaldi, presenting works including the Four Seasons. | |
| 2011 | 02 | Starting Out In Venice | 20110927 | Donald Macleod sees Vivaldi embark on a professional relationship that will dominate the rest of his career, and take his first tentative steps into the perilous world of opera. Vivaldi: La Stravaganza, Concerto No.12 in G RV.298 (3. Allegro) Rachel Podger (violin), Arte Dei Suonatori Baroque Orchestra Vivaldi: Bassoon Concerto in B flat, RV.503 I Musici, Klaus Thunemann (bassoon) Vivaldi: Juditha triumphans: Mundi rector de caelo micanti Magdalena Kozena (mezzo, Juditha), Anke Herrmann (soprano, Abra), Academia Montis Regalis, Coro Giovanile dell'Accademia Nazionale di Santa Cecilia di Roma, directed by Alessandro De Marchi Vivaldi: Orlando finto pazzo (Act 1, Scene 1-4) Gemma Bertagnolli (soprano, Ersilla), Marina Comparato (mezzo, Tigrinda), Sonia Prina (contralto, Origille), Manuela Custer (mezzo, Argillano), Martin Oro (counter tenor, Grifone), Marianna Pizzolato (mezzo, Brandimarte), Academia Montis Regalis, Coro del Teatro Regio di Torino, directed by Alessandro de Marchi Vivaldi: L'estro armonico: Concerto No.8 in A minor RV.522 Elizabeth Wilcock (violin), Micaela Comberti (violin), The English Concert, directed by Trevor Pinnock. Donald Macleod on how Vivaldi took on a prestigious teaching job and delved into opera. | |
| 2011 | 03 | Years Of Travel | 20110928 | Having won over his home crowd in Venice, Vivaldi set out to capitalise on his growing fame by finding work and influential patrons abroad. Presented by Donald Macleod. Vivaldi: Aria - Dell'alma superba (Serenata a tre, RV 690) Ernesto Palacio (tenor), I Solisti Veneti, directed by Claudio Scimone Vivaldi: Tito Manlio, Act 2, Scene 1: Non ti lusinghi la crudeltade Emma Kirkby (soprano, Lucio), The Brandenburg Consort, directed by Roy Goodman Vivaldi Sonata No.11 in E flat RV.756 Andrew Manze (violin), Nigel North (archlute), John Toll (harpsichord) Vivaldi: Magnificat RV.610b Emily Van Evera (soprano), Nancy Argenta (soprano), Alison Place (mezzo), Catherine King (mezzo), Margaret Cable (contralto), The Taverner Choir and Players, directed by Andrew Parrott Vivaldi: Concerto Op.8 No.3 'l'autunno' RV.293 Antonio De Secondi (violin), Concerto Italiano, directed by Rinaldo Alessandrini. Donald Macleod on how Venice's favourite composer set his sights beyond his home city. | |
| 2011 | 04 | Impresario | 20110929 | Vivaldi was ordained a priest, but he eschewed the altar for the opera stage and set up home with his favourite soprano and her sister. Presented by Donald Macleod. Vivaldi: Gloria RV589 (opening) John Alldis Choir, English Chamber Orchestra, conducted by Vittorio Negri Vivaldi: La fida ninfa (trio from Act 1) Sandrine Piau (soprano, Licori), Marie-Nicole Lemieux (contralto, Elpina), Topi Lehtipuu (tenor, Narete), Ensemble Matheus, directed by Jean-Christophe Spinosi Vivaldi: Orlando furioso: Act II Scene 11: Cosi potessi anch'io Jennifer Larmore (mezzo, Alcina), Ensemble Matheus, directed by Jean-Christophe Spinosi Vivaldi: Concerto in A minor RV445 Michala Petri (sopranino recorder), I Solisti Veneti, directed by Claudio Scimone Vivaldi: Laudate pueri, Dominum RV601. Catherine Bott (soprano), Stephen Preston (flute), The Purcell Quartet. Donald Macleod focuses on why Vivaldi eschewed the altar for the opera stage. | |
| 2011 | 05 LAST | A Pauper's Funeral | 20110930 | It's a mystery why the elderly Vivaldi chose to abandon his home in Venice, ending his days poverty-stricken in a foreign land. Donald Macleod investigates. Concerto in F, RV574 The King's Consort, directed by Robert King Concerto funebre in Bflat, RV579 Europa Galante, directed by Fabio Biondi Griselda (Opening of Act II) Carla Huhtanen (soprano, Costanza), Lynne McMurtry (mezzo, Roberto), Jason Nedecky (baritone, Corrado), Aradia Ensemble, conducted by Kevin Mallon Concerto in C, RV558 The Academy of Ancient Music, directed by Andrew Manze. Donald Macleod focuses on the tragic end to Vivaldi's life. | |
| 2013 | 01 | Vivaldi And Venice | 20130318 | As part of Baroque Spring, a month long season of Baroque music and culture, Donald Macleod explores the life and music of Vivaldi, beginning with the relationship between composer and his home town of Venice. As Friedrich Nietzsche put it, 'When I search for a word to replace that of Music, I can think only of Venice.' Vivaldi lived in Venice almost his entire life and had fingers in many Venetian pies: he played the violin at St Mark's, wrote sacred music for services and festivals at some of the hundreds of churches, convents and oratories in the city, provided operas for the famous Carnival and taught at the Pieta. This week - the story of the perfect storm: one of the most prolific composers the world has ever known, born (during an earthquake) into the most musical city in Europe. Donald Macleod focuses on the relationship between Vivaldi and his home city of Venice. | |
| 2013 | 02 | Vivaldi And The Pieta | 20130305 | 20130319 (R3) | As part of Baroque Spring, a month long season of Baroque music and culture, Donald Macleod explores the life and works of Vivaldi. Venice was famous for its Ospedali, foundations set up to take care of orphaned or otherwise unwanted children. Vivaldi had a long relationship with the Pieta, which took in girls and trained them in domestic skills and in music-making. Vivaldi was employed as a violin teacher, and was soon writing music for the girls to sing and play too. Very quickly, no trip to Venice was complete without attending a service or performance at the Pieta. As one visitor wrote home, 'it leads in the perfection of symphonic music .. they play the violin, the recorder, the organ, the oboe, the cello, the bassoon, in short, there is no instrument large enough to frighten them ..'. Donald Macleod on Vivaldi's relationship with the Pieta, a convent and music school. |
| 2013 | 03 | Vivaldi And Anna | 20130306 | 20130320 (R3) | As part of Baroque Spring, a month long season of Baroque music and culture, Donald Macleod explores the life and works of Vivaldi. Vivaldi met the singer Anna Giro during a trip to Mantua and they quickly became inseparable. He wrote role after role for her, and they toured for months at a time, putting on operas as they went, with Anna in the starring role. According to Vivaldi's librettist, she 'did not have a beautiful voice, nor was she a great musician, but she was pretty and attractive, she acted well and had protectors: one needs nothing more to deserve the role of a prima donna.'. Donald Macleod focuses on Vivaldi's relationship with singer Anna Giro. |
| 2013 | 04 | La Chiesa | 20130307 | 20130321 (R3) | As part of Baroque Spring, a month long season of Baroque music and culture, Donald Macleod explores the sacred music of Vivaldi. For a small city, Venice in the eighteenth century was teeming with churches, convents and oratories. It's estimated that 1 in 20 adult Venetians was a priest or a nun, and that included Vivaldi himself. His two careers, as musician and priest, ran side by side for his whole life (although he applied himself to one with rather more enthusiasm than the other). The result was a collection of glorious music for use in Church, where huge congregations would gather and unable to applaud, would show their appreciation of the music of the Maestro by shuffling their feet and coughing. Donald Macleod focuses on the sacred music of Vivaldi. Includes Gloria, RV589. |
| 2013 | 05 LAST | And Beyond... | 20130308 | 20130322 (R3) | As part of Baroque Spring, a month long season of Baroque music and culture, Donald Macleod follows Vivaldi as he travels around Europe. Vivaldi had always looked towards the international market, and he toured extensively, all over Italy and as far north as Amsterdam. He picked up VIP fans as he went, including King Fredrik IV of Denmark and Norway, the Hapsburg Emperor Charles VI, and Louis XV of France, who adored the Four Seasons and had command performances of them at Versailles. Donald Macleod focuses on Vivaldi's travels around Europe. |
| 2014 | 01 | The Pieta | 20141222 | Donald Macleod introduces the life and music of the Venetian priest, feted in his lifetime as both composer and violinist, yet destined to die in obscurity in faraway Vienna. Antonio Vivaldi's name is now inextricably linked with Venice's charitable institution the Ospedale della Piet | |
| 2014 | 02 | Opera Impresario | 20141223 | Donald Macleod introduces music from two of Vivaldi's earliest successful operatic productions which opened up new job opportunities outside of Venice. Vivaldi took over the running of the small Venetian theatre of San Angelo, firstly producing works by other composers, but in the 1714-15 season, he made his own operatic debut in Venice there. Vivaldi was soon in demand at another theatre, placing him in a very powerful position within Venice's operatic life. New opportunities opened up beyond the shores of the Republic and, in 1718, Vivaldi travelled to the court of Mantua where he took up the position of music director. There he was able to take full advantage of the court orchestra with its rich variety of instruments. Donald Macleod introduces music from two of the operas which helped establish his reputation, a dramatic solo cantata typical of the kind of thing Vivaldi composed for singers to perform during the long operatic off-season, and an example of a chamber concerto that may have been intended for the virtuoso members of the Mantuan court orchestra. Donald Macleod introduces music from two of Vivaldi's operatic successes. | |
| 2014 | 03 | Acceptance In Rome | 20141224 | Donald Macleod introduces music associated with a devoted follower of Vivaldi's from Dresden, and influential patrons in Rome. As Vivaldi's reputation began to spread across Europe, musicians from far and wide made a point of visiting him in Venice. One such was Johann Georg Pisendel, a distinguished violinist from the Dresden court who studied with Vivaldi. On his return he ensured Vivaldi's concertos formed a central role in the repertoire of the court orchestra. Offers of work came in from elsewhere, including Rome, and Vivaldi soon found himself on the invitation lists of some of the most powerful and influential princes and cardinals, including the music-loving Cardinal Pietro Ottoboni. Donald Macleod introduces a sonata from a collection owned by the Cardinal, an excerpt from an opera premiered in Rome and a concerto dedicated to the faithful Pisendel's employer at the court of Dresden. Donald Macleod explores how Johann Georg Pisendel helped promote Vivaldi's music. | |
| 2014 | 04 | Celebrity | 20141225 | Donald Macleod introduces two notorious events: the Venetian debut of the singer with whom Vivaldi became infamously associated, and the publication of The Four Seasons. 1725 was an important year for Vivaldi. He once again took over running the San Angelo Theatre in Venice where he oversaw the debut of a young singer whose name was to become inextricably, and rather scandalously, linked with his. At the same time, his collection of concertos entitled Il cimento dell'armonia e dell'inventione was published. It contained a set of 4 concertos known collectively as The Four Seasons, destined to become one of the most popular works of all time. The set were particularly fashionable in Paris where the young Louis XV insisted upon a command performance of the Spring Concerto at Versailles. Alongside the concerto, which famously evokes the icy blasts of winter, Donald Macleod introduces part of a grand serenata Vivaldi composed as a paean of praise to France, a sonata for cello - an instrument for which Vivaldi had a particular empathy, and an excerpt from one of the operas in which Vivaldi's prot退g退, Anna Giraud, first tread the boards at the San Angelo Theatre. Donald Macleod discusses the singer with whom Vivaldi became infamously associated. | |
| 2014 | 05 LAST | Into Obscurity | 20141225 | 20141226 (R3) | Donald Macleod reflects on Vivaldi's bittersweet relationship with Vienna and introduces music from the final decade of his life, as musical tastes in Venice began to change. Vivaldi continued to compose for the stage through his final decade though, as tastes in Venice began to change, his standing as an opera composer was about to peak. He was constantly on the road, travelling from one court to another with his favourite singer, Anna Giraud. After a very acrimonious debacle with the Cardinal of Ferrara, who refused Vivaldi entry into the city, he nearly went bankrupt. Vivaldi still had friends in high places and, in 1740, Vivaldi made the fateful decision to travel to Vienna and seek patronage from Charles VI, Emperor of Austria. Tragically for Vivaldi, the Emperor died just as Vivaldi arrived. The composer himself only survived a few more months, ending his career in abject poverty. Donald Macleod introduces music from those final years including two operas staged in Venice in which Anna sang key roles, a concerto from one of the collections dedicated to the music-loving Emperor of Austria and, finally, one of Vivaldi's colourful multi-instrument concertos played at his final farewell to Venice. Donald Macleod introduces music from the final decade of Vivaldi's life. |
| 2015 | 02 | Starting Out In Venice | 20151228 | Donald Macleod sees Vivaldi embark on a professional relationship that will dominate the rest of his career, and take his first tentative steps into the perilous world of opera. Vivaldi: La Stravaganza, Concerto No.12 in G RV.298 (3. Allegro) Rachel Podger (violin), Arte Dei Suonatori Baroque Orchestra Vivaldi: Bassoon Concerto in B flat, RV.503 I Musici, Klaus Thunemann (bassoon) Vivaldi: Juditha triumphans: Mundi rector de caelo micanti Magdalena Kozena (mezzo, Juditha), Anke Herrmann (soprano, Abra), Academia Montis Regalis, Coro Giovanile dell'Accademia Nazionale di Santa Cecilia di Roma, directed by Alessandro De Marchi Vivaldi: Orlando finto pazzo (Act 1, Scene 1-4) Gemma Bertagnolli (soprano, Ersilla), Marina Comparato (mezzo, Tigrinda), Sonia Prina (contralto, Origille), Manuela Custer (mezzo, Argillano), Martin Oro (counter tenor, Grifone), Marianna Pizzolato (mezzo, Brandimarte), Academia Montis Regalis, Coro del Teatro Regio di Torino, directed by Alessandro de Marchi Vivaldi: L'estro armonico: Concerto No.8 in A minor RV.522 Elizabeth Wilcock (violin), Micaela Comberti (violin), The English Concert, directed by Trevor Pinnock. Donald Macleod on how Vivaldi took on a prestigious teaching job and delved into opera. | |
| 2015 | 03 | Years Of Travel | 20151229 | Having won over his home crowd in Venice, Vivaldi set out to capitalise on his growing fame by finding work and influential patrons abroad. Presented by Donald Macleod. Vivaldi: Aria - Dell'alma superba (Serenata a tre, RV 690) Ernesto Palacio (tenor), I Solisti Veneti, directed by Claudio Scimone Vivaldi: Tito Manlio, Act 2, Scene 1: Non ti lusinghi la crudeltade Emma Kirkby (soprano, Lucio), The Brandenburg Consort, directed by Roy Goodman Vivaldi Sonata No.11 in E flat RV.756 Andrew Manze (violin), Nigel North (archlute), John Toll (harpsichord) Vivaldi: Magnificat RV.610b Emily Van Evera (soprano), Nancy Argenta (soprano), Alison Place (mezzo), Catherine King (mezzo), Margaret Cable (contralto), The Taverner Choir and Players, directed by Andrew Parrott Vivaldi: Concerto Op.8 No.3 'l'autunno' RV.293 Antonio De Secondi (violin), Concerto Italiano, directed by Rinaldo Alessandrini. Donald Macleod on how Venice's favourite composer set his sights beyond his home city. | |
| 2015 | 04 | Impresario | 20151230 | Vivaldi was ordained a priest, but he eschewed the altar for the opera stage and set up home with his favourite soprano and her sister. Presented by Donald Macleod. Vivaldi: Gloria RV589 (opening) John Alldis Choir, English Chamber Orchestra, conducted by Vittorio Negri Vivaldi: La fida ninfa (trio from Act 1) Sandrine Piau (soprano, Licori), Marie-Nicole Lemieux (contralto, Elpina), Topi Lehtipuu (tenor, Narete), Ensemble Matheus, directed by Jean-Christophe Spinosi Vivaldi: Orlando furioso: Act II Scene 11: Cosi potessi anch'io Jennifer Larmore (mezzo, Alcina), Ensemble Matheus, directed by Jean-Christophe Spinosi Vivaldi: Concerto in A minor RV445 Michala Petri (sopranino recorder), I Solisti Veneti, directed by Claudio Scimone Vivaldi: Laudate pueri, Dominum RV601. Catherine Bott (soprano), Stephen Preston (flute), The Purcell Quartet. Donald Macleod focuses on why Vivaldi eschewed the altar for the opera stage. | |
| 2015 | 05 LAST | A Pauper's Funeral | 20151231 | It's a mystery why the elderly Vivaldi chose to abandon his home in Venice, ending his days poverty-stricken in a foreign land. Donald Macleod investigates. Concerto in F, RV574 The King's Consort, directed by Robert King Concerto funebre in Bflat, RV579 Europa Galante, directed by Fabio Biondi Griselda (Opening of Act II) Carla Huhtanen (soprano, Costanza), Lynne McMurtry (mezzo, Roberto), Jason Nedecky (baritone, Corrado), Aradia Ensemble, conducted by Kevin Mallon Concerto in C, RV558 The Academy of Ancient Music, directed by Andrew Manze. Donald Macleod focuses on the tragic end to Vivaldi's life. | |
| 2017 | 01 | Vivaldi The Impresario | 20171009 | Donald Macleod journeys through Vivaldi's early operatic successes As part of the BBC's opera season, Composer of the Week takes a look behind the curtain and onto the stage exploring the world of Antonio Vivaldi's operas. Vivaldi was one of the most original and influential Italian composers of his generation, and his music travelled far past the boundaries of his native Italy. He was considered an innovator in the art of violin technique and concerto writing, and yet he said himself that during his career he wrote nearly one hundred operas in total, though few have survived today. Vivaldi not only composed for the stage and performed in theatre orchestras, but he also became something of an impresario managing many aspects of opera productions. This week Donald Macleod is joined by Professor Eric Cross to lift the veil on this lesser known operatic side of the creator of the famed Four Seasons, Antonio Vivaldi. Vivaldi's fame travelled far and wide as a virtuoso violinist and a composer of concertos. So when he entered the world of opera as a composer, audiences expected something amazing. He wasn't new to the world of the stage, having performed as a theatre musician for many years. However, his first operatic work 'Ottone in villa' was not the innovative spectacle people looked for. Vivaldi went on to revise this work, tightening up the deficiencies as he saw them. By the time he composed his 'L'incornazione di Dario' in 1717, Vivaldi was clearly demonstrating his ability to create drama in music. It was during the same early period that Vivaldi was also becoming far more of a businessman in the theatre world. Sinfonia in C major, RV729 (Ottone in villa) L'Arte dell'Arco Christopher Hogwood, director Ottone in villa, RV729 (Act 1 Sc's 9-11) Cleonilla - Susan Gritton (soprano) Caio Silio - Nancy Argenta (soprano) Tullia - Sophie Daneman (soprano) Collegium Musicum 90 Richard Hickox, conductor Concerto No 8 in A minor, RV522 The English Concert Trevor Pinnock, director L'incornazione di Dario, RV719 (Act 3 Sc's 8-15) Alinda - Roberta Mameli (soprano) Arpago - Sofia Soloviy (soprano) Oronte - Lucia Cirillo (mezzo-soprano) Statira - Sara Mingardo (alto) Argene - Delphine Galou (alto) Flora - Giuseppina Bridelli (alto) Dario - Anders Dahlin (tenor) Niceno - Riccardo Novaro (baritone) Accademia Bizantina Ottavio Dantone, director Producer Luke Whitlock. Donald Macleod journeys through Vivaldi's early operatic successes. | |
| 2017 | 02 | Vivaldi At The Mantuan Court | 20171010 | Donald Macleod follows Vivaldi during his period at the court in Mantua As part of the BBC's opera season, Composer of the Week takes a look behind the curtain and onto the stage exploring the world of Antonio Vivaldi's operas. Vivaldi was one of the most original and influential Italian composers of his generation, and his music travelled far past the boundaries of his native Italy. He was considered an innovator in the art of violin technique and concerto writing, and yet he said himself that during his career he wrote nearly one hundred operas in total, though few have survived today. Vivaldi not only composed for the stage and performed in theatre orchestras, but he also became something of an impresario managing many aspects of opera productions. This week Donald Macleod is joined by Professor Eric Cross to lift the veil on this lesser known operatic side of the creator of the famed Four Seasons, Antonio Vivaldi. From 1718 until 1720, Antonio Vivaldi served the exceedingly God-fearing Prince of Darmstadt at the Mantuan Court. During this period he composed a number of cantatas, and also operas specifically to be premiered in Mantua at the Arciducale theatre, including Tuezzone which was a huge success. Further works for Mantua included Tito Manlio and La Candace, although Vivaldi maintained close links with other cities including Milan and Venice. Vivaldi's operatic career flourished in Mantua, yet disaster struck in 1720 with the death of the Empress in Vienna. All theatres were closed, and Vivaldi soon decided to return to Venice. Overture, RV699 (Armida al campo d'Egitto) I Solisti Veneti Claudio Scimone, director Tuezzone, RV736 (Act 3, Sc 1) Cino - Roberta Mameli (soprano) Zelinda - Delphine Galou (contralto) Le Concert des Nations Jordi Savall, director Tito Manlio, RV738 (Act 3, Sc's 1-4) Manlio - Karina Gauvin (soprano) Servilia - Ann Hallenberg (mezzo-soprano) Lucio - Deborah Beronesi (mezzo-soprano) Vitellia - Marijana Mijanovic (contralto) Lindo - Christian Senn (bass-baritone) Accademia Bizantina Ottavo Dantone, director Cessate, omai cessate, RV684 Andreas Scholl, countertenor Ensemble 415 Chiara Banchini, director Producer Luke Whitlock. Donald Macleod follows Vivaldi during his period at the court in Mantua. | |
| 2017 | 04 | Vivaldi Becomes Unfashionable | 20171005 | 20171012 (R3) | Donald Macleod surveys the 1730s when Vivaldi's opera became old-fashioned As part of the BBC's opera season, Composer of the Week takes a look behind the curtain and onto the stage exploring the world of Antonio Vivaldi's operas. Vivaldi was one of the most original and influential Italian composers of his generation, and his music travelled far past the boundaries of his native Italy. He was considered an innovator in the art of violin technique and concerto writing, and yet he said himself that during his career he wrote nearly one hundred operas in total, though few have survived today. Vivaldi not only composed for the stage and performed in theatre orchestras, but he also became something of an impresario managing many aspects of opera productions. This week Donald Macleod is joined by Professor Eric Cross to lift the veil on this lesser known operatic side of the creator of the famed Four Seasons, Antonio Vivaldi. During the late 1720s Antonio Vivaldi was at the height of his career. By this time he'd been presented to the Pope, composed music for the wedding of Louis XV of France, and was now spending much time in conversation with the Holy Roman Emperor Charles VI. However, new fashions were emerging in the world of opera, pioneered by composers such as Hasse, Leo and Porpora. Yet Vivaldi's stage works were still popular currency in Europe, including the premiere of his La fida ninfa in Verona in 1732. Vivaldi during this period became aware that trends in opera were changing. In order to combat this and retain interest in his music, Vivaldi turned to popular librettos at the time, including L'Olimpiade by Metastasio. Con la face di Megera (Semiramide, Act 3 Sc 2) Lorenzo Regazzo, bass Concerto Italiano Rinaldo Alessandrini, director La fida ninfa, RV714 (Act 1 Sc 7-9) Licori - Sandrine Piau (soprano) Elphina - Marie-Nicole Lemieux (contralto) Osmino - Philippe Jaroussky (countertenor) Ensemble Matheus Jean-Christophe Spinosi, director Violin Concerto in E flat major, Op 8 No 5, RV253 (La tempesta di mare) The Academy of Ancient Music Andrew Manze, director L'Olimpiade, RV725 (Act 1 Sc 8-10) Megacle - Roberta Invernizzi (soprano) Licida - Sara Mingardo (contralto) Aristea - Sonia Prina (contralto) Producer Luke Whitlock. Donald Macleod surveys the 1730s when Vivaldi's opera became old-fashioned. |
| 2018 | 01 | Vivaldi The Impresario | 20180814 | Donald Macleod surveys the life and work of Italian Baroque composer, Antonio Vivaldi. | |
| 2018 | 02 | Vivaldi At The Mantuan Court | 20180815 | Donald Macleod follows Antonio Vivaldi during his period at the court in Mantua and takes a look behind the curtain and onto the stage exploring the world of his operas. Vivaldi was one of the most original and influential Italian composers of his generation, and his music travelled far past the boundaries of his native Italy. He was considered an innovator in the art of violin technique and concerto writing, and yet he said himself that during his career he wrote nearly one hundred operas in total, though few have survived today. Vivaldi not only composed for the stage and performed in theatre orchestras, but he also became something of an impresario managing many aspects of opera productions. This week Donald Macleod is joined by Professor Eric Cross to lift the veil on this lesser known operatic side of the creator of the famed Four Seasons, Antonio Vivaldi. From 1718 until 1720, Antonio Vivaldi served the exceedingly God-fearing Prince of Darmstadt at the Mantuan Court. During this period he composed a number of cantatas, and also operas specifically to be premiered in Mantua at the Arciducale theatre, including Tuezzone which was a huge success. Further works for Mantua included Tito Manlio and La Candace, although Vivaldi maintained close links with other cities including Milan and Venice. Vivaldi's operatic career flourished in Mantua, yet disaster struck in 1720 with the death of the Empress in Vienna. All theatres were closed, and Vivaldi soon decided to return to Venice. Overture - Armida al campo d'Egitto I Solisti Veneti Claudio Scimone, director Tuezzone (Act 3, Sc 1) Cino - Roberta Mameli (soprano) Zelinda - Delphine Galou (contralto) Le Concert des Nations Jordi Savall, director Tito Manlio (Act 3, Scs 1-4) Manlio - Karina Gauvin (soprano) Servilia - Ann Hallenberg (mezzo-soprano) Lucio - Deborah Beronesi (mezzo-soprano) Vitellia - Marijana Mijanovic (contralto) Lindo - Christian Senn (bass-baritone) Accademia Bizantina Ottavo Dantone, director Cessate, omai cessate, RV684 Andreas Scholl, countertenor Ensemble 415 Chiara Banchini, director. Donald Macleod follows Vivaldi during his period at the court in Mantua. | |
| 2018 | 03 | Vivaldi Is Presented To The Pope | 20180816 | 20171011 (R3) | Donald Macleod surveys Antonio Vivaldi's successes in Rome As part of the BBC's opera season, Composer of the Week takes a look behind the curtain and onto the stage exploring the world of Antonio Vivaldi's operas. Vivaldi was one of the most original and influential Italian composers of his generation, and his music travelled far past the boundaries of his native Italy. He was considered an innovator in the art of violin technique and concerto writing, and yet he said himself that during his career he wrote nearly one hundred operas in total, though few have survived today. Vivaldi not only composed for the stage and performed in theatre orchestras, but he also became something of an impresario managing many aspects of opera productions. This week Donald Macleod is joined by Professor Eric Cross to lift the veil on this lesser known operatic side of the creator of the famed Four Seasons, Antonio Vivaldi. Vivaldi returned to Venice in 1720 where he continued to work for the Ospedale. He also threw himself into Venetian theatrical life, now casting his own singers for his stage productions. By 1723 his opera 'Ercole' was premiered in Rome and was a big hit. Vivaldi was invited to compose for the 1723 Carnival season in Rome, where he presented them with his new opera 'Giustino'. This was another success and soon the composer found himself not only presented to the Pope, but also commissioned to compose music for the wedding of Louis XV of France. Further opera successes came Vivaldi's way including 'Farnace' and 'Orlando furioso', although these were both premiered in Venice and included a particular singer the composer had now taken an interest in, Anna Giro. Sento in seno ch'in pioggia di lagrime (Giustino, Act 2 scene 1) Nathalie Stutzmann, contralto & conductor Orfeo 55 Sorte, che m'invitasti ....Ho nel petto un cor s쀀 forte (Giustino, Act 2 scene 13) Farnace (Act 3, scenes 8-12) Gilade - Karina Gauvin (soprano) Tamiri - Ruxandra Donose (mezzo-soprano) Berenice - Mary Ellen Nesi (mezzo-soprano) Selinda - Ann Hallenberg (mezzo-soprano) Farnace - Max Emanuel Cencic (countertenor) Pompeo - Daniel Behle (tenor) Choir or Swiss Radio and Television, Lugano I Barocchisti Diego Fasolis, conductor Orlando furioso (Act 2, scenes 4-6) Angelica - Veronica Cangemi (soprano) Orlando - Marie-Nicole Lemieux (contralto) Medoro - Blandine Staskiewicz (mezzo-soprano) Ruggiero - Philippe Jaroussky (countertenor) Ensemble Matheus Jean-Christophe Spinosi, director Violin Concerto in A minor, RV358 Simon Standage, violin The Academy of Ancient Music Christopher Hogwood, director Producer Luke Whitlock. Donald Macleod surveys Vivaldi's success in Rome. |
| 2018 | 04 | Vivaldi's Late Operas | 20180817 | 20171013 (R3) | Donald Macleod delves into Antonio Vivaldi's late works for the stage As part of the BBC's opera season, Composer of the Week takes a look behind the curtain and onto the stage exploring the world of Antonio Vivaldi's operas. Vivaldi was one of the most original and influential Italian composers of his generation, and his music travelled far past the boundaries of his native Italy. He was considered an innovator in the art of violin technique and concerto writing, and yet he said himself that during his career he wrote nearly one hundred operas in total, though few have survived today. Vivaldi not only composed for the stage and performed in theatre orchestras, but he also became something of an impresario managing many aspects of opera productions. This week Donald Macleod is joined by Professor Eric Cross to lift the veil on this lesser known operatic side of the creator of the famed Four Seasons, Antonio Vivaldi. Vivaldi had become aware that his final stage works were competing with new trends in the world of opera. In a bid to combat this he turned to popular librettos by Metastasio and Zeno. Vivaldi also started to write showcase arias full of vocal pyrotechnics to bedazzle the listener, whilst playing to the strengths of the soloist. Examples of these virtuosic arias are included in Griselda from 1735, or from two years later, Catone in Utica. Despite these canny moves, Vivaldi's status as an opera composer was in decline. For many years he was frustrated in his attempts to stage an opera in Ferrara. There were even personal intrigues, leading to a ban placed upon Vivaldi's music in Ferrara, by the Papacy there. Towards the end of Vivaldi's life, he was still active in the world of the theatre, but turned from composing operas to becoming more of an opera arranger. Scocca dardi l'altero tuo ciglio (Griselda) Ottone - Simone Kermes (soprano) Ensemble Matheus Jean-Christophe Spinosi, director Griselda, RV718 (Act 2, sc 11-14) Constanza - Ver nica Cangemi (soprano) Griselda - Marie-Nicole Lemieux (contralto) Gualtiero - Stefano Ferrari (tenor) Catone in Utica, RV705 (Act 2, sc 12-14) Arbace - Em?ke Barကth (soprano) Emilia - Ann Hallenberg (mezzo-soprano) Marzia - Sonia Prina (contralto) Il Complesso Barocco Alan Curtis, director Concerto in D major for violin, 2 oboes, 2 horns and timpani, RV562A Adrian Chandler, violin La Serenissima Adrian Chandler, conductor Producer Luke Whitlock. Donald Macleod delves into Antonio Vivaldi's late works for the stage. |
| 2019 | 01 | Portraits Of A Man, Pictures Of A City | 20190722 | 20210607 (R3) | As a virtuoso violinist, as a teacher, as a priest and as a prolific composer, Antonio Vivaldi was a key figure in Baroque Italy and remains one of the most famous names in classical music today. Vivaldi is also intrinsically linked with the city of his birth - Venice. In Monday's programme, Donald explores this association through a series of images of the composer and La Serenissima. Macleod explores Vivaldi's association with the city of his birth - Venice. |
| 2019 | 02 | The Reluctant Priest | 20190723 | 20210608 (R3) | As a virtuoso violinist, as a teacher, as a priest and as a prolific composer, Antonio Vivaldi was a key figure in Baroque Italy and remains one of the most famous names in classical music today. As an ordained priest who didn't say Mass, there have been many questions asked about Vivaldi's piety. In Tuesday's programme, Donald Macleod examines the depth of Vivaldi's faith. Laetatus sum (psalm 121), RV 607 Concerto Italiano Rinaldo Alessandrini (conductor) Concerto in G minor, Op. 3 No. 2, RV 578 Elizabeth Wallfisch (violin) Tafelmusik Baroque Ensemble Jeanne Lamon (conductor) Stabat Mater dolorosa, RV 621 Daniel Taylor (countertenor & director) Theatre of Early Music Gloria, RV 589 Le Concert Spiritual Herve Niquet (conductor) Griselda, RV 718 - Sinfonia Ensemble Matheus Jean-Christophe Spinosi (director) Il Teuzzone RV 736 - In sen della virtude Les Concert des Nations Jordi Savall (director) Produced by Sam Phillips for BBC Cymru Wales |
| 2019 | 03 | Vivaldi's Muses | 20190724 | 20210609 (R3) | As a virtuoso violinist, as a teacher, as a priest and as a prolific composer, Antonio Vivaldi was a key figure in Baroque Italy and remains one of the most famous names in classical music today. In Wednesday's programme, Donald Macleod explores the muses who inspired Vivaldi throughout his life and the composer's relationship with these women - the music written for a virtuoso violinist at the Ospedale della Pieta, and his later relationship with two half-sisters, Anna Giro and Paolina Tessieri, and the accusations levelled against him when they both supposedly moved into his house. Dorilla In Tempe, RV 709 - Dell'aura al sussurar Elin Manahan-Thomas (soprano) Orchestra of the Age of Enlightenment Harry Christophers (conductor) Concerto for Viola d'Amore in A minor, RV397 Salzburg Bell'Arte Orlando furioso, RV 728 - Sol da te, mio dolce amore Cecilia Bartoli (mezzo-soprano), Jean-Marc Goujon (flute) Ensemble Matheus Jean-Christophe Spinosi (conductor) Nulla in mundo pax sincera, RV630 Simon Kermes (Soprano) Venice Baroque Orchestra Andrea Marcon (harpsichord) Atenaide, RV 702 - Infausta reggia addio Sandrine Piau (Eudossa) Modo Antiquo Federico Maria Sardelli (conductor) Il Farnace, RV711 - Sinfonia Le Concert Des Nations Jordi Savall (director) Produced by Sam Phillips for BBC Cymru Wales |
| 2019 | 04 | A Fall From Dizzy Heights | 20190725 | 20210610 (R3) | As a virtuoso violinist, as a teacher, as a priest and as a prolific composer, Antonio Vivaldi was a key figure in Baroque Italy and remains one of the most famous names in classical music today. In Thursday's programme. Donald Macleod explores the peak of Vivaldi's fame when he completed commissions for the great and the good and was knighted by an emperor, and his rapid fall from grace to poverty and anonymity. Concerto per S.A.S.I.S.P.G.M.D.G.S.M.B., RV 574 - III. Allegro Adrian Chandler (violin/director) La Serenissima Violin Concerto in E major `la primavera`, RV 269 Il Giardino Armonico Giovanni Antonini (conductor) La Senna Festeggiante, RV693 - Sinfonia The Kings Consort Robert King (conductor) La Senna Festeggiante, RV693 - Pieta dolcezza fanno il suo volto Carolyn Sampson (soprano) Hilary Summers (alto ) Andrew Foster-Williams (bass) Violin Concerto No. 12 in B Minor `La Cetra`, RV 391 Rachel Podger (violin) Holland Baroque Society Argippo, RV697 - Se lento ancora il fulmine Cecilia Bartoli (Soprano) Ensemble Matheus Jean-Christophe Spinosi (director) Il Bajazet, RV 703 - Sinfonia L'Arte Dell`Arco Christopher Hogwood (conductor) Produced by Sam Phillips for BBC Cymru Wales Donald Macleod explores the highs and lows of Vivaldi's fame. |
| 2019 | 05 LAST | An Ignominious End And Rediscovery | 20190726 | 20210611 (R3) | As a virtuoso violinist, as a teacher, as a priest and as a prolific composer, Antonio Vivaldi was a key figure in Baroque Italy and remains one of the most famous names in classical music today. In Friday's programme, Donald Macleod explores Vivaldi's death and the rediscovery of the composer's life and music after a long period in the musical wilderness. Nisi Dominus, RV 608 - Amen Philippe Jaroussky (counter-tenor) Ensemble Matheus Jean-Christophe Spinosi (violin & director) Salve Regina, RV 616 Michael Chance (countertenor) The English Concert Trevor Pinnock (conductor) Johann Sebastian Bach Concerto for Four Keyboards in A minor (after Vivaldi), BWV1065 Colin Tilney (harpsichord), Christopher Hogwood (harpsichord), Christophe Rousset (harpsichord), Davitt Moroney (harpsichord) Academy of Ancient Music Christopher Hogwood (director) L'Olimpiade, RV725 - Mentre dormi amor fomenti Violin Concerto in G Minor `L'estate', RV 315 ' - I. Allegro non molto Bernardino Molinari (violin) Orchestra Stabile dell'Academia de S. Cecilia Violin Concerto in G Minor `L'estate', RV 315 ' - II. Adagio - Presto Alan Loveday (violin) Academy of St Martin-in-the-Fields Neville Marriner (director) Violin Concerto in G Minor `L'estate', RV 315 ' - III. Presto Nigel Kennedy (violin) English Chamber Orchestra Dixit Dominus, RV 594 - Allegro Gemma Bertagnolli (soprano), Roberta Invernizzi (soprano), Sara Mingardo (alto), Matteo Bellotto (baritone), Gianluca Ferrarini (tenor) Concerto Italiano Rinaldo Alessandrini (director) Produced by Sam Phillips for BBC Cymru Wales Donald Macleod explores the rediscovery of the Vivaldi's life and music after his death. |
| 2023 | 01 | Spring , Piet\u00e0 | 20230130 | Donald Macleod explores spring in the life of Antonio Vivaldi, and his early years in Venice working at the Ospedale della Piet | |
| 2023 | 02 | Summer, Carnival Of Venice | 20230131 | Donald Macleod explores Summer in the life and career of Vivaldi, and the world of the Venetian carnival. As performer, composer, impresario, musical director, and teacher, Antonio Vivaldi was a key figure in the musical life of Baroque Italy. Thanks to his set of Concertos `The Four Seasons`, he remains one of the most famous and best loved composers today. This week, Donald Macleod puts these four celebrated concertos front and centre as he also explores the four seasons of Vivaldi's own life, lingering a little in his summer. We'll follow him from the start of his musical story, teaching at the Ospedale della Piet | |
| 2023 | 03 | Summer, Further Fields | 20230201 | Donald Macleod explores Vivaldi's successes outside his native Venice, across Italy and throughout Europe. As performer, composer, impresario, musical director, and teacher, Antonio Vivaldi was a key figure in the musical life of Baroque Italy. Thanks to his set of Concertos `The Four Seasons`, he remains one of the most famous and best loved composers today. This week, Donald Macleod puts these four celebrated concertos front and centre as he also explores the four seasons of Vivaldi's own life, lingering a little in his summer. We'll follow him from the start of his musical story, teaching at the Ospedale della Piet | |
| 2023 | 04 | Autumn, Scandal | 20230202 | Donald Macleod explores the autumn of Vivaldi's career as scandal threatens to engulf him. As performer, composer, impresario, musical director, and teacher, Antonio Vivaldi was a key figure in the musical life of Baroque Italy. Thanks to his set of Concertos `The Four Seasons`, he remains one of the most famous and best loved composers today. This week, Donald Macleod puts these four celebrated concertos front and centre as he also explores the four seasons of Vivaldi's own life, lingering a little in his summer. We'll follow him from the start of his musical story, teaching at the Ospedale della Piet | |
| 2023 | 05 LAST | Winter, Vienna | 20230203 | Donald tries to piece together the last days of Antonio Vivaldi from the limited trail left to us by history. As performer, composer, impresario, musical director, and teacher, Antonio Vivaldi was a key figure in the musical life of Baroque Italy. Thanks to his set of Concertos `The Four Seasons`, he remains one of the most famous and best loved composers today. This week, Donald Macleod puts these four celebrated concertos front and centre as he also explores the four seasons of Vivaldi's own life, lingering a little in his summer. We'll follow him from the start of his musical story, teaching at the Ospedale della Piet |