We must admit that nowadays we have a totally different vision of Antonio Vivaldi's music in comparison to the previous generations - and first of all this is due to to artist, such as, Giuliano Carmignola, Monica Huggett, Claudio Scimone, Andrea Marcon, Trevor Pinnock, Christopher Hogwood and Fabio Biondi. They all reside under the auspices of the historical current of authentic interpretations, and are able to impose their vision, many times a revolutionary one, over this repertoire.

Between Fabio Bondi, the violinist and leader of the Europa Galante ensemble and Antonio Vivaldi's music, there is an old complicity. One owes to this Palermo born artist and his ensemble founded in 1990, a series of essential albums - starting with the much awarded and revolutionary version of the Seasons, more precisely the whole cycle of Il cimento dell'armonia e dell'inventione, followed by La Stravaganza, to innumerable another Concerti con molti strumenti or the Bajazet opera, the last two being nominated for the Grammy Awards. We are making reference here to theL'Oracolo in Messenia opera, to Chiara's Diary - an album encompassing concerts especially composed for one of Vivaldi's most talented pupils from Ospedalle della Pietà - and the latest issued album, I Concerti dell adio.

Although artist of Virgin Classics for 15 years, Fabio Bondi recorded this last Vivaldi album at Glossa, a Spanish label record centred on old music. I Concerti dell addio is an album that captivates through its subject, as well as through the proficient level of the musicians involved. That is why the album has a double significance and thus, a plus of value.

These are the concerts composed by Antonio Vivaldi at the dusk of his life, when Europe was beginning already to taste the accents of the gallant style, when names such as Giuseppe Tartini and Pietro Antonio Locatelli were giving new valences to instrumental concerts. And Vivaldi remained no stranger to all these tendencies. He would adopt them open-mindedly, with a remarkable suppleness. He did this to such a degree that one could observe in his last concerts these latest typologies -the four-part concerts, more generous in dimensions, with sophisticated lines which had a certain brightness beyond the per se virtuosity, with new technical problems and a touch of drama.

The stories of these last works impresses, too, them being the last to be sold by Vivaldi in 1741 when he was in Wien, confused about the death of his protector, the emperor Charles VI. The author from Pietà had hoped to become the imperial composer. The concerts that Fabio Bondi will be presenting us in a fascinating version were bought for almost nothing by a certain count Vinciguerra Collalto, a collector and art lover (the manuscripts are kept at the moment in Brno).

I do not think there is need to emphasize anymore the value of these new recordings, issued in February. There are six concerts performed in a XIIth century old church in Parma, with an impressive sound power. Europa Galante and Fabio Bondi are not just offering us a new demonstration of the experience, art and passion that they invest in this event, but they also bring out a lot of subtilities accessible only to the more refined of the listeners, "a fusion of elegance, vivacity and taste" (Gramophone), moments of such consistency and vitality, which can really touch our profoundest spots and offer us new impulses. If we were to use a term borrowed from jazz, it would all be about a special groove, a rhythmical sense which suffices to change your regular pulse.

If you are lovers of old music, the Vivaldi album - I Concerti dell addio with Fabio Biondi and Europa Galante cannot but spur your admiration and passion, not only for what this amazing man created, but also for those who discover the new valencies of his music and offer them to us to our utter delight. This album was also included in the Vote the Best Classical Album of 2015 campaign of Radio Romania Music.

(CD Review / Arpeggio, 12^th June, at 11:15)