The musical sources known at present comprise, in contrast, a mere 27 manuscript scores, almost all of which are completely preserved in the Mauro Foà and Renzo Giordano collections of the Biblioteca Nazionale Universitaria of Turin, plus around 270 loose operatic arias. The rediscovery of the dramatic music of Antonio Vivaldi, which started in the last quarter of the last century and is today in full swing, has restored to us the image of an all-round composer, up to a point where if one could – paradoxically – take no account of the instrumental production to which he owes his universal fame, he would neverless deserve a place among the leading figures in Italian opera seria between the late seventeenth and early eighteenth centuries, alongside composers of the calibre of Francesco Cavalli, Alessandro Scarlatti and Leonardo Vinci.īetween 17 Vivaldi set to music at least forty or so librettos (over eighty, if one adds revivals and operatic productions that took place without his knowledge or direct involvement).
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