As we come to the end of Hyperion’s ambitious and critically acclaimed Vivaldi sacred music project–one more volume to go–Robert King introduces us not only to some really fine music, but more importantly to a sensational young mezzo, Joyce DiDonato, whose rendition of the solo motet Ascende laeta alone is worth the price of this CD. However you feel about Vivaldi, sacred vocal music, Latin, or mezzos–you will be impressed, even thrilled by DiDonato’s singing, her complete technical and stylistic command, her energy, sure intonation, and her winning ability to enliven and inhabit and project every virtuosic feature of one of Vivaldi’s most engaging vocal creations. Strangely, nothing is said about her in the liner notes, but an online search tells you that she’s from Kansas, she’s the winner of several prestigious awards–2003 Recipient of New York City Opera’s Richard Gold Debut Award, and 2002 Awardee of the Richard Tucker Music Foundation–and she’s already made a significant mark as an opera performer, with memorable appearances at venues such as the New York City Opera, Covent Garden, and the Paris Bastille.
Of course, there are other outstanding performances here–particularly from soprano Carolyn Sampson, whose solos in the Laudate pueri not only highlight some of Vivaldi’s finest and most beautifully melodic vocal writing, but also show what a refined and expressive singer she is, whether in the slower, more carefully nuanced movements or in the rapid, rousing, highly florid sections. Nathalie Stutzmann is lovely and powerful in her Salve Regina, her rich alto projecting with womanly warmth and color and countertenor-like clarity. King’s orchestra and choir add ideal support, and the sound is full, well-balanced, and vibrant. This is a gem–a must for vocal music fans. I’m warning you: You’ll be sorry if you miss DiDonato. [8/30/2003]
