Antonio Vivaldi (1678-1741)
Farnace (1727)

Francesco Corselli (1705-1778)

Farnace (1739)

Dramma per Musica en 3 actes composé par Antonio Vivaldi (1678-1741) à Venezia en 1727,
revu par Francesco Corselli à Madrid en 1739 sur un livret de Antonio M. Lucchini

Dramma per Musica in 3 acts composed by Antonio Vivaldi (1678-1741) in Venezia in 1727,
revised by Francesco Corselli in  Madrid in 1739 based on a libretto by Antonio Maria Lucchini


Super Audio CD

Édition originale/Original recording
Alia Vox 9822
Code barres / Barcode: 7619986098227

Airs célèbres - Favorite Aires
Alia Vox 9830
Code barres / Barcode: 7619986098302

Édition originale/Original recording: AV9822

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(Version abrégée / Abridger version)

Airs célèbres - Favorite Aires AV9830

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Artistes / Performers

Furio Zanasi, baritone (Farnace),
Adriana Fernández, soprano (Berenice)
Sara Mingardo, contralto (Tamiri)

Gloria Banditelli, contralto (Selinda)
Sonia Prina, contralto (Pompeo)
Cinzia Forte, soprano (Gilade)
Fulvio Bettini, baritone (Aquilio)

Coro del Teatro de la Zarzuela,

Le Concert des Nations / Jordi Savall

Lieu d'enregistrement / Recording site:
Teatro de la Zarzuela de Madrid
Date d'enregistrement: Octobre 2001
Recording date: October 2001

Durée totale / Total time: 2:55"17

Édition Naïve -
(Sans les airs signés Corselli)
(Without the Corselli arias)


Code barres / Barcode: 0709861304714

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Un ajout au disque fort apprécié de l'un des nombreux opéras de Vivaldi, d'autant plus qu'il résulte d'une production pour la scène.
Gramophone - 10/2002

A welcome exposure of one of Vivaldi's many operas, all the better for being based on a live production.
Gramophone - 2002/10

Évaluations recensées / Reviews located

See below

# 493 (06/2002)
See below
Voir ci-dessous

 # 43 (06/2002)
Voir ci-dessous

Vol. 26:2 Nov./Dec. 2002
Vol. 33:4 Mar./Apr. 2010
See below


# 19 (Été/Summer 2002)
Voir ci-dessous
See below



Review by: Kirk McElhearn

Full text / texte intégral
Review by: Robert Levine

Vivaldi (Opéras)

Vivaldi - Farnace

Extrait du livret / From the liner notes

Un Farnace actuel

Cet enregistrement de l’opéra Farnace de Vivaldi est présenté pour la première fois de façon complète avec toutes les arias et les chœurs correspondant à la version de 1731, (et avec la récupération du recitativo accompagnatto de Tamiri de 1738). Pour des raisons historiques et conceptuelles, chacun des trois actes est précédé de différents exemples de la version de Corselli qui fut présentée à Madrid en 1739. Le tout est structuré à partir d’une sélection des meilleurs moments interprétés en public au cours des deux dernières représentations qui ont eu lieu au Teatro de la Zarzuela les 26 et 28 octobre 2001.

Jordi Savall
Madrid, octobre 2001

Poursuivez votre lecture - texte intégral
AV9822 :  Cliquez ici puis faites une recherche avec l'expression: AV9822

An up-to date version of Farnace

The present recording of Vivaldi’s opera Farnace is the first complete recording, including all the arias and choruses from the 1731 version, as well as restoring Tamiri’s recitativo accompagnato from the 1738 version. For historical and conceptual reasons, each of the three acts is preceded by different examples from Corselli’s version of the opera, which was presented in Madrid in 1738. The entire version is built around a selection of the best interpretations from the last two performances recorded live at Teatro de la Zarzuela in Madrid, on 26 and 28 October, 2001.

Jordi Savall
Madrid, october 2001

Read on - Full text
AV9822:  Click here -  then search for AV9822






Reviewer: Lindsay Kemp

"Jordi Savall directs with a sure hand‚ drawing exciting and committed playing from Le Concert des Nations and showing fine control of pace and momentum. The recitatives‚ so often rattled through in the studio‚ are much more convincing and natural for being part of a real production‚ and so too are the arias‚ with all the singers putting in strong and stylish performances. Top marks for acting go to the gloriously dignified contralto of Sara Mingardo as Tamiri‚ with Adriana Fernandez’s ranting Berenice not far behind‚ but Furio Zanasi lacks a little in vocal resolve for the stubborn Farnace‚ and Gloria Banditelli could have offered more artfulness as his resourceful sister Selinda. Sonia Prina and Cinzia Forte both do what needs to be done with their rather conventional trouser roles." 

Read on - Original text
A short interview by Michael Quinn

A question to Jordi Savall... Conductor  (Click here)
Diapason- 493



Note: 5



Analyste: Roger-Claude Travers

"Personnages bien campés, cohérence dramatique convaincante: voici l'un des opéras de maturité les plus réussis."
"Bouleversante Sara Mingardo, Tamiri hallucinée et torturée dans ses sentiments d'épouse méprisée, de fille haïe et de mère protectrice, sublimement impliquée dans les récits... Superbe Farnace de Furio Zanasi, timbre impérial, expression juste servie par une palette subtile de nuances. Pour Bérénice,  la furieuse et sanguinaire reine de Cappadoce, ... Adriana Fernandez, voix claire, légère et acérée, darde des traits trop frêles, trop pâles. Étonnante Gloria Banditelli pour Selinda, technique solide, émission ferme et bien timbrée. Le Gilade de Cinzia Forte déçoit, dans d'éblouissants airs pour castrats."

"Ce Farnace est certainement, malgré ces réserves, la réalisation la plus passionnante depuis le Catone de Scimone, en 1984. Sans doute parce que Savall, modelant à la perfection un Concert des Nations, généreux et épanoui, se révèle un vivaldien authentique."

Classica- # 43



Note: 3



Analyste: Alexandre Elkomoss

"Un continuo magistral, la direction raffinée de Savall, son sens inné du coloris et .... son réel mépris pour l'effet de manche n'y feront absolument rien: les grands chanteurs, absolument maîtres de leurs moyens... sont ici aux abonnés absents. Où sont les sensibilités ? le charme ? les individualités ? ... les timbres ? "
The Opera Quarterly,
Vol. 19, no. 4 (2003)
pp. 802-806

A devastating evaluation

Reviewer: Roger Pines


"Vivaldi's work was resurrected for a 2001 Madrid performance, but the results, as heard here, have not been worth the effort."

"The title role (five arias) is taken by baritone Furio Zanasi whose timbre is pleasant but never distinctive... He tries hard for expressiveness and often succeeds. As long as the music does not take him to either extreme of range, he is perfectly acceptable, but he remains too much of a ligthweight."

"Berenice, seemingly the prima donna role here with five arias, is poorly portrayed by Adriana Fernandez."

"Cinzia Forte sings Gilade (four arias) in a performance hardly above conservatory level."

With Sara Mingardo in the role of Tamiri "... ther is a lack of variety of color and a very limited upper range, but also a rarely encountered warmth and roudness in the dark (but nevre too dark) tone."

"All in all, ..., it is distressing to see so much expense lavished on a work and performance that do not deserve the attention."

Vol. 26:2
Nov./Dec. 2002



Feature article by Brian Robins

1)  Jordi Savall Records Farnace (Plus excerpts from Corselli's) (Click here)

2) Vivaldi/Corselli Farnace, RV 711 - a few excerpts from an exhaustive review by Mr. Robins::

- "Farnace is said to have been Vivaldi's own favorite among his operas. It was certainly one of the most successful, being frequently revived...".

"As Savall mentioned, the role (of Farnace ) was written for a tenor, but Zanasi's splendid vocal acting and mostly accurate singing over a wide range fully justifies Savall's decision to use a baritone."
 "Mingardo (as Tamiri) is ... at her most moving, as indeed she is in the act III aria in which she senses a weakening of Farnace's stern resolve."

"... Adriana Fernandez's portrayal of the role (of Berenice) is (not) very convincing, (although) well she sings. She simply sounds too nice to be mouthing blood  curdling threats, ..."

"The playing of Savall's Le Concert des Nations is full of warmth, fire, and affection. If it is not always as technically finished as it might be, it sets the seal on a splendid achievement featuring what is almost certainly overall the strongest, most satisfying cast yet assembled foa Vivaldi opera on record

Read on - full text - (Click here)

Vol. 33:4
Mar./Apr. 2010


Reviwer: Barry Brenesal


Savall used the 1739 revised manuscript of Francesco Corselli for this recording. First employed while presenting Farnace in Madrid, it comprised Vivaldi’s 1731 version of the opera, intended originally for Pavia, plus a few selections Corselli himself added. No one should be surprised at this; it was standard Baroque practice to treat operas as something more than templates, but certainly less than finished, unalterable works. In a world where opera was the equivalent of primetime entertainment, hundreds of them were adjusted to fit local talents and tastes without a thought. Corselli’s changes were remarkably reticent, all things considered. He supplied a sinfonia, and a recitative/aria for Berenice to act I; an aria for Farnace, to act II; and a march to act III. "

"This is why I can’t recommend the new issue of Farnace on Naïve. Because the Vivaldi Edition’s editors decided to reissue it without any of the Corselli material Savall recorded, not even providing it as an audio footnote following the opera. This is certainly their choice, and can be justified by simply pointing out Corselli isn’t Vivaldi, and only the latter is within the purview of their efforts..."

In short, if you want
Farnace, you’re better off sticking with Alia Vox 9822. It’s well worth it."

# 19

(Été/Summer 2002)



Goldberg a cessé de publier
avec le # 54
Goldberg is no longer available.
# 54 was the last issue.

Analyste: Fréderic Délaméa

Extrait significatif:
"... la restitution de Savall est musicalement étincelante. Elle s'impose principalement par l'exceptionnelle prestation du Concert des Nations dont l'homogénéité des pupitres, la solide assise rythmique et la précision des attaques peignent avec élégance et force mêlées les micro-climats subtils de l'oeuvre vivaldienne. Savall sculpte avec attention le matériel orchestral, imposant des tempi judicieux et variés, et préservant à tout instant la respiration dramatique de la partition."

Lire le texte intégral

Reviewer: Fréderic Délaméa

A short excerpt:
"Not only is Savall's reconstruction almost irreproachable in terms of philology, it contains a good many musical fireworks as well. The performance of the Concert des Nations is its most outstanding element: rhythmic stability, precise attacks, and the uniform sound of the various sections of the orchestra combine elegantly to convey the subtle micro-climates of Vivaldi's work. Savall carefully sculpts the orchestra's sound, asks for varied and judicious tempi, and takes the dramatic resilience of the score into consideration at all times."

Full text

Analyste: Graham Lock

L’enregistrement de Jordi Savall, réalisé en direct à Madrid, est la première version intégrale de Farnace au disque. Les interprétations sont attrayantes et pleines d’entrain, bien qu’il leur manque parfois ce degré de finesse (et de clarté du son) qu’apporte l’enregistrement en studio. Le baryton Furio Zanasi est un Farnace plein d’autorité, tandis que la Gilade de Cinzia Forte et la Tamiri de Sara Mingardo sont parfois aussi excellentes. Le luxueux coffret est également impressionnant, ..."

Lire le texte intégral
Reviewer: Graham Lock

Jordi Savall’s live recording from Madrid is the first complete Farnace on disc. Performances are lively and engaging; though I did miss the extra degree of finesse—and clarity of sound—that a studio recording permits. Baritone Furio Zanasi is a commanding, sympathetic Farnace, while Cinzia Forte’s Gilade and Sara Mingardo’s Tamiri also excel at times. The lavish packaging is impressive too, ..."

Full text

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