Fabio Biondi Vivaldi

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Reviewed in the United States on February 13, 2019. Some 20+ years after his groundbreaking releases on Virgin, Fabio Biondi now feels like almost an old hand at Vivaldi. However, the energy and innovation—as well as the scholarly grounding of his performances—haven’t diminished. This is the first entry of Biondi and Europa Galante to the ongoing Vivaldi Edition on the Naive label. Fabio Biondi's imaginative playing is full of spunk and vigor, delineating Vivaldi's scene-painting without overdoing it. His band matches him with rhythmic vitality; this is one Vivaldi. Find album reviews, stream songs, credits and award information for Vivaldi: L'Estro Armonico - 12 Concertos Op. 3 - Fabio Biondi, Europa Galante on AllMusic - 1998. Fabio Biondi and Europa Galante have earned a reputation for excellence in their pursuit of historically informed performance of Baroque music including Vivaldi. This recording, the second in a series of concertos for diverse instruments, has been well received.

Find album reviews, stream songs, credits and award information for Vivaldi: String Concerti - Europa Galante, Fabio Biondi on AllMusic - 1990.

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Bajazet (Italian pronunciation: [baʒaˈzɛ]; also called Il Tamerlano^[1]) (RV 703) is an Italian opera in 3 acts composed by Antonio Vivaldi in 1735. Its libretto was written by Agostino Piovene. It was premiered in Verona, during the Carnival season of that year. It includes a three-movement sinfonia as an introduction. The story is about the fate of Bajazet (known as Beyazid I) after being captured by Tamerlane (Timur Lenk). The famous aria, 'Sposa son disprezzata' is from this opera.

Roles[edit]

Fabio Biondi Vivaldi Winter

Synopsis[edit]

Act I. In garden of occupied capital of Bursa, where Tamerlane resides following the defeat of the Turks.

Scene 1 (Bajazet & Andronicus): Awaiting death, Bajazet tells Andronicus that if he weds Asteria he must hate Tamerlane.

Scene 2 (Andronicus & Idaspe). Andronicus tells Idaspe to watch Bajazet for Asteria’s sake. Idaspe warns him that Greece has already turned the Empire over to Tamerlane and that Asteria’s beauty will fade, but Andronicus could be crowned Byzantine emperor.

Scene 3 (Tamerlane & Andronicus): Tamerlane grants to Andronicus the Byzantine Empire and discloses that he is in love with Asteria. He asks Andronicus to ask her hand from Bajazet and tells him that he should marry Irene (who is betrothed to Tamerlane).

Scene 4 (Andronicus alone): Andronicus considers: He is not ungrateful to Tamerlane but wishes to have Asteria. Royal apartments for Bajazet and Asteria, guarded.

Scene 5 (Asteria): Asteria considers her dilemma—she loves Andronicus but believes he is interested only in imperial ambition.

Scene 6 (Tamerlane & Asteria); Tamerlane tells Asteria of his love and threatens her with her father’s life. He tells her that Andronicus will wed Irene and sings love aria before leaving.

Scene 7 (Andronicus, Bajazet & Asteria): Asteria reproaches Andronicus in front of her father. Andronicus begins to explain himself but Bajazet tells him that he speaks for his daughter in saying that she will refuse to marry Tamerlane and Bajazet will forfeit his head.

Scene 8 (Asteria & Andronicus): Asteria remains angry with Andronicus and tells him to carry out her father’s orders but not to speak for her. After he leaves, she wonders how she can continue to love one who is untrue to her.

Scene 9 (Irene, Andronicus & Idaspe): Irene wants to know why her proposed husband is not there to greet her. Idaspe explains that he loves another. Andronicus proposes that she go to him as Irene’s messenger. [Tamerlane does not know what she looks like.] She agrees to fight for her rights.

Scene 10 (Andronicus alone): Andronicus admits to himself that Irene is pretty and her kingdom adds to her beauty, but he is sad for Asteria. He sings aria in which he recognizes that if one does not die of grief in these circumstances it is because “either the power of death is weak; or grief is powerless.”

Act 2. Open countryside with Tamerlane’s pavilions which open to show Tamerlane and Andronicus seated.

Scene 1 (Tamerlane, Andronicus, Idaspe): Tamerlane tells Andronicus that he learned of Asteria’s consent through her maid and that today both Tamerlane’s marriage to Asteria and Andronicus’s to Irene will take place.

Scene 2 (Andronicus & Idaspe): Andronicus tells Idaspe that he plans to reprove Asteria, relinquish Irene and her realm to Tamerlane, make full restitution, and offer Asteria his life and fortune. Idapse goes to inform Bajazet of Asteria’s decision.

Scene 3 (Andronicus & Asteria): Asreria berates Andronicus for not opposing Tamerlane’s offer to her. Andronicus says that he will lay down his life if that is what she wishes. She tells him it is too late, Tamerlane calls.

Scene 4 (Andronicus alone): Andronicus despairs that he has lost Asteria and will lose his life. He decides to see Bajazet. Pavilion opens to reveal Tamerlane and Asteria on cushions.

Scene 5 (Tamerlane, Asteria, Idaspe & later Irene): Idaspe announces a messenger from Irene, and Irene enters pretending to be that messenger. Tamerlane has Asteria tell her of her decision to accept Tamerlane. Irene protests and Tamerlane admits his guilt (of faithlessness) but instructs her to tell Irene that she will obtain a new husband and a kingdom that day.

Scene 6 (Asteria, Irene, & Idaspe): Asteria informs Irene’s “messenger” that she intends to displease Tamerlane and Irene might have him back.

Scene 7 (Irene & Idaspe): Irene marvels at the resolve of Asteria and says that she loves Tamerlane, despite his unfaithfulness.

Scene 8 (Andronicus & Bajazet): Andronicus informs Bajazet that he saw Asteria accept the throne. Bajazet accuses Andronicus of not fighting hard enough for her. They go to see her, while Bajazet sings of his desperation. Military camp with Tamerlane and Asteria sitting in view of the army.

Scene 9 (Tamerlane, Asteria, later Andronicus, Bajazet & Irene): Asteria complies with Tamerlane’s request that she retire to the royal quarters (with aside that she has a plan). Bajazet arrives seeking his daughter and tells Tamerlane that the blood of an Ottoman sultan will not mingle with a peasant’s. Irene (still as messenger) arrives to challenge Asteria. Tamerlane says that if she can make Asteria renounce the throne, will be Irene’s. Bajazet gives lengthy denunciation of Asteria. Then Asteria renounces the throne and reveals she was going to stab Tamerlane in bed. Tamerlane calls on guards to take Asteria and Bajazet upon whom he will exact vengeance. Tamerlane, Bajazet, Asteria and Irene sing quartet about faithlessness, cruelty mercy and death.

Act 3. Garden on the banks of the River Euphrates.

Scene 1 (Asteria & Bajazet): Bajazet shares with his daughter poison to be used when Tamerlane begins his vengeance on them.

Scene 2 (Tamerlane, Andronicus & Asteria (aside at first)): Tamerlane tells Andronicus that he will forgive Asteria if she relents. Andronicus begins to plead but Asteria enters and misunderstands his intention. Andronicus is forced to declare his love in front of Tamerlane, who in fury orders Bajazet beheaded and ASteria wedded to the meanest slave.

Scene 3 (Bajazet and the foregoing): Bajaet enters and orders his daughter to arise; she is not to bow to Tamerlane. Tamerlane becomes enraged and orders both Asteria and Bajazet to the dining hall and invites Andronicus should he wish to watch. Tamerlane sings an aria of his “hate, fury and poison for Asteria.

Scene 4 (Andronicus alone): Andronicus decides to give up his throne for Asteria, realizing that he cannot escape from “love and pity, anger and cruelty.” Dining hall with entire guard.

Scene 5 (Tamerlane, Bajzset, Andronicus, later Irene): Tamerlane informs Bajazet that he has been brought from his cell to watch. He then summons Asteria.

Scene 6 (Asteria and the foregoing): Tamerlane orders Asteria to serve him a drink. She secretly fills it with the poison Bajazet gave her. and offers it to Tamerlane.

Scene 7 (Irene with the foregoing): Irene warns Tamerlane not to take the drink, telling him that him that Asteria has poisoned it. Asteria takes the cup to drink it but Andronicus snatches it from her hand. Asteria rushes out. Tamerlane orders the guard to take her to be turned over to the mob. Bajazet promises he will come with a thousand furies to tear out Tamerlane’s heart.

Scene 8 (Bajazet leaves, the rest remain): Irene asks Tamerlane what will become of her. Tamerlane says that she will be his bride. Irene agrees to forgive his past insults to her.

Scene 9 (Idaspe and the foregoing): Idaspe advises Tamerlane that Bajazet has taken poison and is on the verge of death. Tamerlane offers Andronicus his friendship, but not Asteria.

Scene 10 (Asteria and the foregoing): Asteria arrives and announces that “he is indeed dead, you tyrant.” Her Ottoman hatred for Tamerlane has not died, however. She begs for the means to kill herself so she can join her father and sings “Stab me, beat me, kill me, fell me.”

Final Scene (Asteria leaves, but others remain): Irene and Andronicus ask Tamerlanne to have mercy on Asteria. Tamerlane says that the death of Bajazet has softened his heart. All sing of the coming peace and hope for the loss of hate among “a thousand amorous flames.”

Sinfonia[edit]

• Allegro
• Andante Molto
• Allegro

Music[edit]

Origin of Arias[edit]

Bajazet is a pasticcio. It was a common practice during Vivaldi's time for composers to borrow and adapt arias from other composers with their own works for an opera. Vivaldi himself composed the arias for the good characters (Bajazet, Asteria and Idaspe) and mostly used existing arias from other composers for the villains (Tamerlano, Irene, Andronico) in this opera. Some of the arias are reused from previous Vivaldi operas. The table below lists the origin of some of the arias used in Bajazet.

Fabio Biondi Vivaldi Concerto Rv 558

Recordings[edit]

The first complete recording of this opera was released by Virgin Classics on 10 May 2005. Fabio Biondi conducts Europa Galante in Brussels for this recording. The singers are:

• bass-baritone Ildebrando D'Arcangelo as Bajazet
• countertenor David Daniels as Tamerlano
• mezzo-soprano Vivica Genaux as Irene
• contralto Marijana Mijanovic as Asteria
• soprano Patrizia Ciofi as Idaspe
• mezzo-soprano Elīna Garanča as Andronico

This recording received the award for Best Opera by Midem Classical Awards 2006 and shortlisted for the 48th Annual Grammy Awards 2006.Before this release, excerpts from this opera had been performed by other singers such as Cecilia Bartoli.

Pinchgut Opera's 2015 production of the opera was recorded live and broadcast on ABC Classic FM.^[3]

A recoding of the complete opera was released in 2020 on naive classics, featuring Bruno Taddia as Bajazet and Filippo Mineccia as Tamerlano. The orchestra is Accademia Bizantina. All conducted by Ottavio Dantone.

References[edit]

Notes

1. ^Not to be confused with the opera of the same name by Handel
2. ^Ryom, Peter (2007). Vivaldi-Werkverzeichnis, p. 379. Breitkopf & Härtel.
3. ^ABC Classic FM (5 July 2015). 'Vivaldi's BajazetArchived 2015-12-18 at the Wayback Machine.

Sources

• Delaméa, Frédéric (2005), 'The Noble Death-Pangs of Vivaldian Opera', in Vivaldi: Bajazet [CD liner notes]. Virgin Classics

Bajazet

External links[edit]

Piovene, Agostino (1742). Bajazet. Libretto. n.l.: n.p.

You can always rely on Naïve’s enterprising Vivaldi Edition to deliver the goods at a time of year when new releases are generally thin on the ground, and today brings a superb account of Argippo, a pasticcio from the early 1730s which incorporates music by composers including Hasse, Porpora and Galeazzi as well as the Red Priest himself.

To say that the plot hasn’t aged well is putting it mildly. Zanaida, daughter of Gran Mogol Tisifaro, has apparently ‘yielded her honour’ under cover of darkness to king Argippo, which makes his state visit to her father’s court with his new wife Osira more than slightly awkward. (The reality is that Zanaida’s nocturnal visitor was in fact the nefarious courtier Silvero, who has previously failed to win her over on his own terms and decided that a spot of identity-theft might be worth a shot). Asked to pass judgement on a hypothetical situation in which a man seduces one woman before marrying another, Argippo declares that the only course of action is for the guilty party to murder his spouse and return to his previous lover, nobly agreeing to put his money where his mouth is when he himself is accused of the offence. Silvero eventually comes clean in the nick of time, a revelation which Zanaida greets with baffling sang-froid: declaring that it was obviously Meant To Be, she happily agrees to marry him and the curtain falls to general rejoicing. It would be a bold stage-director indeed who took this one on today.

The scenario provides ample opportunity for ornate reflections on love and duty for everyone concerned, often via metaphors involving storm-tossed ships, guiding stars and turtledoves, and all five singers cover themselves in glory. Though the title-character is naturally assigned several show-stopping arias, it’s Zanaida who is the beating heart of the opera, and Galou brings her to life in all her emotional complexity: the role sits squarely in soprano territory, but the French contralto has no shortage of colours in her middle and upper registers and exploits every one of them to full effect, making particularly striking use of straight tone in her second-act aria ‘Io son rea’ and wringing maximum drama from the rather uninspired secco recitatives (almost certainly the work of an assistant rather than Vivaldi himself). Her first aria ‘Se lento ancora il fulmine’ (which made for a scintillating opener on Cecilia Bartoli’s Vivaldi album a couple of years ago) is a real tour de force, and indeed there’s something of Bartoli’s manic energy to Galou’s singing throughout, though the voice is considerably fuller and the coloratura notably less mechanical.

Fabio Biondi Vivaldi Images

The other stand-out performance comes from the young Swiss soprano Marie Lys, who endows the potentially thankless role of Osira with true pathos and is especially compelling in Andrea Stefano Fiorè’s ‘Vado a morire per te’, which showcases her lovely liquid legato to perfection. Emőke Baráth’s edgier sound in the title-role falls less gratefully on the ear for me, though she impresses in the stratospheric bravura of Galeazzi’s ‘Anche in mezzo a perigliosa’ and the contrast between the two sopranos comes in handy in an opera dominated by upper voices. Marianna Pizzolato’s warm mezzo renders Silvero far more sympathetic than he deserves; like Handel’s Polinesso, this ‘smiling, damnèd villain’ executes his treachery in the courtliest of musical language, and Pizzolato does it all with consummate elegance. Her remorseful ‘Se la bella tortorella’, with Biondi exuding easy virtuosity in the lovely violin obbligato, is one of the highlights of the set and put me a little in mind of ‘Se in fiorito’ from Handel’s Giulio Cesare some eight years earlier.

Vivaldi Bajazet

Biondi’s energetic, imaginative direction is of course key to the success of the entire project, bringing real coherence to a work which could easily seem like Now That’s What I Call Music 1732: even the most pedestrian recitatives have drive and dramatic impetus, and he summons such an impressive range of colours from the small band that I was well into the third act before I registered that the work is scored for strings and continuo only. It’s another triumph for Naïve’s pioneering series, and for Galou and Biondi in particular.