Barnes & Noble
With this exemplary recording of Bajazet, it's safe to say that what once seemed a trickle of Vivaldi operas has become a flood. Staged for the 1735 carnival season in Verona, where Vivaldi mounted several successful productions in the 1730s, the opera relates the tragic story of Bajazet, the Ottoman sultan who was defeated in the early 15th century by the cruel despot Tamerlano, and depicts the love triangle that forms between Bajazet's daughter, Asteria, a scheming Tamerlano, and the prince Andronico. (The same libretto was also taken up in Handel's Tamerlano.) Like numerous other operas of the period, Bajazet is not a one-man work but a pasticcio -- a score that draws on multiple composers' music. Adapting to changing operatic tastes that were spurred on by new melodic currents from Naples, the Venetian Vivaldi gathered music by Hasse, Giacomelli, and Broschi (the brother of the famed castrato Farinelli), as well as from his own pen, to form Bajazet -- a practice that raised no eyebrows in the Baroque, when the concept of copyright law was as far off as cell phones and e-commerce. It was this shifting style, in fact, that led to Vivaldi's descent from favor at the end of his life, and revealingly, he provided his own arias for the honorable characters here (Bajazet, Asteria, and the loyal Idaspe) while relegating the Neapolitan music to the ignoble ones (Tamerlano, his betrothed, Irene, and Andronico). The cast of singers, splendidly accompanied by Fabio Biondi and his lively ensemble, Europa Galante, contains several early-music luminaries, and it's hard to imagine a more effective or proficient ensemble. The marvelous baritone Ildebrando D'Arcangelo makes a sympathetic title character, while the countertenor David Daniels, as Tamerlano, works his usual magic. The three mezzo-sopranos -- Vivica Genaux as Irene, Marijana Mijanovic as Asteria, and Elina Garanca as Andronico -- each offer stunning moments, especially Genaux's almost unbelievable virtuosity in "Qual guerriero in campo armato." Soprano Patrizia Ciofi takes the relatively minor role of Idaspe but shines in the tempest aria, "Anche il mar per che sommerga," which also appears on Cecilia Bartoli's Vivaldi Album. A bonus DVD, taped at the recording sessions, offers footage of each of the six singers in a solo aria, and the booklet contains a full translation and historical note. A must for early-music followers; and Baroque-o-phobes, too, are strongly encouraged to dip their toes into these enchanting musical waters. EJ Johnson
All Music Guide
Even hard-core Vivaldians will not be blamed for being a little mystified by the appearance on disc of the opera "Bajazet," here recorded for the first time on Virgin Classics. A cursory glance at Antonio Vivaldi's worklist in Grove's will not make its pedigree readily apparent, but closer inspection reveals that it is given as an alternate title to "Il Tamerlano," admittedly not as splashy a moniker as "Bajazet." First presented during the carnival season in Verona in 1735, "Bajazet" is not all Vivaldi, being assembled by him, in part, to incorporate arias written by his contemporaries, as was the custom in this period. "Bajazet" does not easily betray its piecemeal manner of construction and, as an opera, is surprisingly unified in tone and style.
Fabio Biondi is the driving force behind this revival, and his period instrument group Europa Galante is fabulous throughout; the opening "Sinfonia" picks the listener up and will not let go. In the aspect of rhythm, "Bajazet" is one of Vivaldi's most interesting operas, and the mandolin-like strumming pattern underlaid to the aria "Del destin non dee lagnarsi," sung with character and aplomb by Ildebrando D'Arcangelo, has an almost rock & roll quality to it. Another outstanding highlight worth noting is mezzo-soprano Vivica Genaux' dynamite performance of "Quel guerriero in campo armato," a Vivaldian gloss on an aria strongly associated with the famous castrato singer Farinelli. This is a rapid-fire, ridiculously ornate, and difficult aria where there is practically no place to breathe, being a thicket of breakneck sixteenth notes and treacherous leaps. The sudden, widespread acceptance of Vivaldi's previously little-known vocal music is great news for listeners, but is perhaps bad news for singers! Genaux is really on her game here, and additional evidence of that is supplied via the bonus DVD included with this set, featuring video clips of the six primary artists included taken during the recording sessions for "Bajazet."
"Bajazet" has a strong cast, but there is one significantly weak link, notably mezzo-soprano Elina Garanca, who has the role of Andronico and, consequently, many pages of the music. Garanca's voice is pretty and well pitched, but she does not seem to have much grasp of the character and her singing is rather bland. At the very least, Bajazet is always representative of what this opera is supposed to sound like, which is what most listeners who are interested in obscure operas are usually looking for in such a set. That Bajazet is additionally excellent in other ways is a bonus that makes it more of an essential acquisition, and fans of Vivaldi's vocal music should not be without it. Uncle Dave Lewis
Gramophone
The cast has hardly a weak link: David Daniels is in typically beautiful voice as Tamerlano.... There could hardly be a better way to bring this opera to life. Lindsay Kemp
Time Out New York
Excellent recordings of Baroque rediscoveries are appearing almost too quickly to absorb, and this latest set by Fabio Biondi's spirited Europa Galante proves to be another winner. David Shengold
Chicago Tribune
Bajazet is a delight from start to finish and lovers of Italian Baroque opera will not want to miss this splendid first recording.
Chicago Tribune
Bajazet is a delight from start to finish and lovers of Italian Baroque opera will not want to miss this splendid first recording.