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Reviewer:
David Vickers
‘Vienna 1709: Opera Arias’ is misleading on almost all counts: this broader survey includes music from several serenatas and oratorios dating from 1704-16. Most feature a pair of viols, and not much else except a basso continuo trio.
Sometimes
the viols are equal partners in dialogue with the voice, as in the exquisite
opener ‘Il goder un bel sembiante’ from Pietro Baldassari’s Il giudizio di
Paride (1707), and the paired viols provide an expressive echo of the singer’s
weeping in ‘Prole tenera’ from Ariosti’s oratorio Le profezie d’Eliseo
nell’assedio di Samaria (1705). A few elaborate solo obbligato parts are played
by Ensemble Tourbillon’s director Petr Wagner, such as the beguilingly spun
conversation between virtuoso gamba and limpid voice in ‘Sento nel core’ from
Fux’s heroic-pastoral La decima fatica d’Ercole (1710). A pair of oboes is added
to a softly seductive sinfonia from Ariosti’s Marte placato (1707), and a
chalumeau illustrates a pastoral allusion in ‘Non sdegnar’ from Fux’s Il mese di
Marzo (1709). Blazíková’s
limpidly stylish singing eloquently conveys the poetry and its sentiments. Such
rarefied beauty and intelligence means that any risk of textural monotony is
deftly side-stepped, and a treasure trove of fine music is revealed.
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