"Both Italian authors are extremely singer-friendly, we can swim in the beautiful melodic and virtuoso details, in the depiction of different characters and moods. "Beyond the story what was it like to shape the role vocally?"
Although it is in Latin, which was obsolete in the 18th century, but the Venetian opera has a strong influence on it." This is the only surviving oratorium of his. For this reason it has the characteristic feature that there are five female parts in in. Vivaldi's piece was later introduced in Venice in 1716, where the master worked in a musical institution that was both an orphanage and a school for young ladies. "In 1986 I met this excitingly beautiful biblical female figure, because Hungaroton recorded the oratorio of Alessandro Scarlatti's La Giuditta, which I sang in the title role. She remembers the recording of the album in this way: Maria Zádori regards the French success as a great recognition. So many great performances, and only 80 minutes to fit them in! Why not issue double-CD Legends?! (Incidentally, all four of the Handel Coronation anthems have been released on a Double Decca, which might still be available as you read this.Nicholas McGegan conducts the Capella Savaria ensemble with the cooperation of soloists such as Gloria Banditelli, Mária Zádori, Judit Németh, Annette Markert and Katalin Gémes.
Were I producing the Legends series, all four of the Handel anthems would have been coupled with the Vivaldi and its magnificent original LP-mate, the Pergolesi Magnificat, saving the Haydn for a different pairing. These are star-studded “great singing” recordings in which the artists will be remembered as much as the music itself. Stahlman is not alone, as Elizabeth Vaughan, Dame Janet Baker, Helen Watts, Wilfred Brown, and Tom Krause all have many moments of vocal glory. The opening of the Haydn, with Sylvia Stahlman soaring to the heights in the best performance of her short-lived career, is one of the more powerful moments in the history of recorded choral music, and this version of the Handel anthem still stands as the best recording of that work. Though reference recordings of the Haydn and Vivaldi are listed, I have to admit that there are no readings that I like better than these. Since that time there have been other performances that depict the letter of each work to a greater degree than these, but many listeners will argue that there are none that have better encapsulated the spirit of this music. And there was the incredibly powerful, absolutely heavenly sound of that chorus of men and boys, as well as the lifelike recordings that perfectly captured the vast space of the Chapel of King’s College. Though modern instruments were used, there was an effort to get performance practices right, especially in the Handel and Vivaldi. When these recordings first came out, far in advance of the period instrument revolution, they were revelations.
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