BBC Music Magazine - - Opera Reviews -

Do­rilla in Tempe

Rom­ina Basso, Ser­ena Malfi, Ma­rina de Liso, Lu­cia Cir­illo, So­nia Prina, Chris­tian Senn; Coro della Ra­diotele­vi­sione Svizzera; I Baroc­chisti/diego Fa­so­lis Naïve OP 30560 129:34 mins (2 discs) After a mod­est pause The Vi­valdi Edi­tion has re­sumed ac­tiv­ity with the com­poser’s heroic pas­toral Do­rilla in Tempe. Vi­valdi pro­duced it in Venice for the 1726-27 au­tumn car­ni­val sea­son, and re­vived it on three oc­ca­sions over the fol­low­ing eight years. The work is a pas­tic­cio with eight arias by other com­posers in­clud­ing Hasse who con­tributed three of them.

An­to­nio Maria Luc­chini’s three-act li­bretto is set in Thes­saly where, after var­i­ous shenani­gans and mis­ad­ven­tures of the kind fa­mil­iar to devo­tees of Baroque opera, shep­herd Elmiro is at last united with his beloved Do­rilla. She has been hav­ing a rough time, first nar­rowly avoid­ing be­ing sac­ri­ficed to a dragon and then al­most drown­ing in de­spair at Elmiro’s im­mi­nent death. Nomio, who is the god Apollo in dis­guise, comes to the res­cue in the nick of time. Con­stancy in love has won the day and a joy­ful cho­rus brings mat­ters to a close.

With an ac­com­plished line-up of solo and choral singers and his I Baroc­chisti in­stru­men­tal­ists, Diego Fa­so­lis in­jects vi­tal­ity and an ap­pro­pri­ate sense of melo­drama to Vi­valdi’s score. No reader will be un­fa­mil­iar with the mu­sic of the open­ing cho­rus. I shall say no more but that it is a par­tic­u­larly happy in­stance of self-bor­row­ing. Rom­ina Basso brings in­no­cent charm to the ti­tle role – her Act III aria ‘Il povero mio core’ is sung with touch­ing pathos. Ser­ena Malfi’s Elmiro is splen­did, yield­ing ap­pro­pri­ate bravura and mo­ments of height­ened pas­sion. Among other roles So­nia Prina’s Eu­damia is larger than life in the part taken in its first per­for­mances by Vi­valdi’s pupil and life­long com­pan­ion Anna Girò. Ni­cholas An­der­son


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