Vivaldi's only surviving oratorio here receives a rare recording, and this stunning performance (recorded after a London concert, and the only truly 'authentic' version available) is sure to become the definitive version for years to come. The work was written for the Pietà, the famous girls' orphanage in Venice where Vivaldi was Music Director and for which much of his music was composed, and with an almost unlimited range of instruments and instrumentalists at his disposal Vivaldi truly indulged his fondness for instrumental colour- throughout the many arias, the all-female cast are accompanied variously by chalumeau, early clarinets, viole all'inglese, viola d'amore and four theorbos, in addition to the instruments of the expected baroque orchestra. Though the extant work opens with a rousing and virtuosic chorus, in this performance Robert King prefaces it with the first two movements of Vivaldi's colourful Concerto (RV555) as it is certain the work would have commenced with an overture, now lost.ECHO AWARD, GERMANY 'Lyricism in abundance and some truly extraordinary scoring. Robert King's direction revels in such novelties and he has a skillful team of players to realise the ravishing beauties of the score' (The Times) 'A stunning cast, orchestra and choir' (BBC Music magazine) 'Hugely enjoyable … excellent soloists…masterly recording' (Classic CD) 'Although it comes as Vol IV of King's projected complete recording of Vivaldi's sacred music, this allegorical oratorio - Judith's murder of Holofernes representing Venice's triumph over the Ottoman hordes - seems to belong to the opera house rather than the church. Vivaldi wrote it in 1716 for the youthful female virtuosi of the Ospedal della Pieta: the vocal writing requires both astonishing agility and rare intensity; and he asks for an extravagant instrumentarium, including clarinets, a chalumeau, mandolin and violas 'all' inglese'. The choruses that open and close the oratorio and punctuate the sequence of glorious arias have a thrilling martial éclat. The soloists are wonderful: Ann Murray's Judith, beguiling and brilliant, marks her return to form, and her bright mezzo contrasts well with the velvet alto of Susan Bickley as Holofernes. Maria Cristina Kiehr - in the only soprano role, Vagaus - gets the lion's share of the bravura numbers and sings them superlatively well. Another revelatory issue from Hyperion' (The Sunday Times) 'Magnificent. Unquestionably a masterpiece that bridles with invention from start to finish. A feat of supreme singing and intensely dramatic projection. Superlative recorded sound that in its combination of warmth, depth and immediacy, conveys the supeme quality of the performance with devastating Impact. This is not only the finest recording I've encountered this year, but one of the great recordings of the decade. There is no justice if it does not pick up awards galore' (Fanfare, USA) 'A wonderful piece of dramatic music that receives superb treatment at the hands of The King's Consort and soloists. An absolutely vital release and one of the best recordings I've heard this year' (American Record Guide)

• Wykonawca The King's Consort
• Data premiery 2006-03-07
• Nośnik CD

Musiques à la Chabotterie record label enriches its catalog with a tenth volume: Antonio Vivaldi's 6 Concertos pour flûte with Hugo Reyne on the recorder and conducting La Simphonie du Marais' musicians. At the age of ten, Hugo Reyne was striving to reproduce by ear on his small soprano recorder Vivaldi's pieces often gleaned during commercials on the radio or television. When he was sixteen, he heard them played by the virtuoso recorder player Frans Brüggen in La Maison de la Radio during the interpretation course of this outstanding professor who is regarded as the father of modern recorder. These were arresting moments for Hugo Reyne who felt an enduring fascination for Vivaldi's music and made Frans Brüggen into his first model, some would say his mentor, at the beginning of his own musical career. "To play an instrument from the composer's period further adds to this music's charm. I truly believe we have to give back to Vivaldi the poetry he deserves, to respect what he wrote, and no longer distort his writing with useless effects." Therefore, Hugo Reyne is using for the Concerto in C minor an alto recorder made by Gahn in the 18th century, and then in turns recorders made by the most gifted makers for the successive concertos. A tribute to his teachers and to those whose recorder playing have inspired him, this album features Vivaldi concertos which have carried Hugo Reyne through his teenage years and have marked out his recorder studies, then his teaching work as well as his recorder player career. 6 Concertos pour flute adds to a series of nine previous CDs for the same label Musiques à la Chabotterie which have been acclaimed by the media (Classica Choc, Diapason Découverte, Le Monde de la Musique Choc, Goldberg 5 étoiles, Diapason 5 Diapason, Académie du disque lyrique Orphée d’Or, Pizzicato Supersonic…).

• Wykonawca La Simphonie du Marais , Reyne Hugo
• Data premiery 2013-04-01
• Nośnik CD

1: The Sky and the Dawn and the Sun2: The Prayer3: Newgrange4: Over the Rainbow5: Granuaile's Dance6: The Blessing7: Dulaman8: Beyond the Sea9: The Last Rose of Summer10: Caledonia11: Lascia Ch'io Pianga12: Carrickfergus13: Vivaldi's Rain14: The Voice15: Scarborough Fair16: Mo Ghile Mear

• Wykonawca Celtic Woman
• Data premiery 2007-01-01
• Nośnik CD

1: The Sky and the Dawn and the Sun2: The Prayer3: Newgrange4: Over the Rainbow5: Granuaile's Dance6: The Blessing7: Dulaman8: Beyond the Sea9: The Last Rose of Summer10: Caledonia11: Lascia Ch'io Pianga12: Carrickfergus13: Vivaldi's Rain14: The Voice15: Scarborough Fair16: Mo Ghile Mear

• Wykonawca Celtic Woman
• Data premiery 2007-01-01
• Nośnik CD