Barnes & Noble

What could be further from the truth than the old cliché that Antonio Vivaldi wrote the same concerto 500 times? The more Vivaldi we hear, the more obvious it becomes that his musical ingenuity and high-volume productivity were equally matched. It's natural enough that the picturesque Four Seasons are his most popular pieces, and Nigel Kennedy's recent traversal of those concertos (his second) was as exciting a ride as we've come to expect from this bold violinist. Now, still seeming as vigorously youthful as when he burst on the scene a quarter century ago, Kennedy offers a sequel that almost outdoes its precursor in brilliant music making. Through the course of six concertos -- four of them featuring Kennedy in duet or trio with other soloists -- plus a single sonata for violin placed at the program's center, there's never a dull moment. The sheer energy that Kennedy and Daniel Stabrawa bring to the two duo-violin concertos is breathtaking, but Kennedy's sensitive phrasing in the slow movements is every bit as marvelous as his electrifying technique in the more virtuosic sections. His nimble interplay with oboist Albrecht Mayer in a concerto featuring their two instruments provides a perfect foil to the string-dominated sound of the rest of the program, although Vivaldi's music offers other striking contrasts of mood at every turn. In Kennedy's captivating performances, backed by select members of the Berlin Philharmonic, each of these invigorating works will vie to become your new favorite among Vivaldi's seemingly inexhaustible musical riches. Scott Paulin

Dallas Morning News

Kennedy tones down his vibrato to simulate authentic period style, and so does the band. The violinist also glides lightly over ornaments and runs. This is Vivaldi with a light touch -- but a big impact. [Grade: A-] Lawson Taitte

Fanfare

Collaborating with what might formerly have been taken to be the establishment and employing modern instruments, Kennedy has created all the excitement and improvisatory joie de vivre once most closely associated with such "cutting edge" groups as Il giardino armonico. The synthesis must be irresistible to those in both camps and to Kennedy’s admirers. Strongly recommended. Robert Maxham