After a short hiatus following the retirement of longtime director Jeanne Lamon, the Tafelmusik Baroque Orchestra, also known simply as Tafelmusik, returned in 2019 with this collection of Vivaldi concertos, loosely centered on the theme of love (a couple of concertos have love-related subtitles, and others, like the Lute Concerto in D major, RV 93, have traditionally suggested this subject). This is Tafelmusik's first release under its new director, violinist Elisa Citterio, and Vivaldi might seem a conservative choice for ...
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After a short hiatus following the retirement of longtime director Jeanne Lamon, the Tafelmusik Baroque Orchestra, also known simply as Tafelmusik, returned in 2019 with this collection of Vivaldi concertos, loosely centered on the theme of love (a couple of concertos have love-related subtitles, and others, like the Lute Concerto in D major, RV 93, have traditionally suggested this subject). This is Tafelmusik's first release under its new director, violinist Elisa Citterio, and Vivaldi might seem a conservative choice for such an event. Not in the least. Citterio has already wrought major changes in Tafelmusik's sound, and this album shows them off effectively. She's definitely a member of the contemporary Italian school, and even if she doesn't (and doesn't try to) deliver textures as punchy as those of Rinaldo Alessandrini and his cohort, she gives the concerto form a distinctly dramatic, operatic cast. Citterio is herself a soloist in several violin concertos, and one of the most promising...
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