Antonio Vivaldi - L'Olimpiade RV 275 - Opera, a world, 15^th of March 2026

Antonio Vivaldi - L'Olimpiade RV 275, featuring: Bejun Mehta, Raffaele Pe, Margherita Maria Sala, Benedetta Mazzucato, Eleonora Bellocci, Christian Senn, Luigi De Donato; the Maghini Choir of Turin (prepared by Elena Camoletto) and the Innsbruck Festival of Early Music Orchestra, conducted by Alessandro De Marchi.

Premiere album, released on the 22^nd of January 2026

We are listening to the opera L'Olimpiade by Antonio Vivaldi; a recording released by CPO on the 22^nd of January, an album included in the Discs of the Year 2026 project, which we will now hear for the first time. The recording was made during a performance that took place in 2023 at the Innsbruck Festival of Early Music. You will listen to an extraordinary performance with exceptional performers. This production marked, in grand style, the completion of conductor Alessandro De Marchi's tenure as festival director, a position he held from 2009 to 2023.

As for the opera L'Olimpiade, the libretto preceded and surpassed the opera itself, with Pietro Metastasio being the author. The text, originally written for an opera composed by Antonio Caldara, was published in 1733 and became a bestseller, and to give you an idea of just how famous it was, it was adapted over time by approximately 70 composers, from Pergolesi and Hasse to Donizetti - in the Romantic era (though Donizetti never finished writing the musical score). Among them, of course, was Vivaldi, and his score - in three large acts, catalog number RV 725, was completed in 1734. The premiere in Venice at that time was a huge success. However, one century later, this work had already been forgotten, and L'Olimpiade was rediscovered much later, in 1939.

The music is spectacular - effervescent and brilliant, just like all of Vivaldi's masterpieces. It is a joy to listen to this wonderful piece, presented by a very good and exceptionally cohesive group of performers. You won't even notice how quickly three hours fly by in the accompaniment of this music.

In the leading roles, we see, first and foremost, two countertenors. I believe that Bejun Mehta, as Licida - the assumed son of the King of Crete - has the most beautiful voice among the performers, that kind of voice you listen to without blinking. He impresses us with his delicate phrasing and effortlessly executed coloratura, and he is an extremely expressive artist.

Raffaele Pe is Megacle - an Athenian athlete, friend of Licida, and lover of Aristea; when we broadcast the opera Bajazet, I mentioned that Andronic's musical score did not entirely suit him, but the role in L'Olimpiade suits him well and showcases his strengths, delighting the audience with his well-known elegance and refined performance.

The two men's partners are contralto Margherita Maria Sala as Aristea, daughter of King Clistene, and mezzo-soprano Benedetta Mazzucato as Argene - a Cretan noblewoman, Licida's forgotten lover, disguised as the shepherdess Licori. These are very suitable choices for this performance, with the interpreter of Aristea presenting a score that includes some very unsettling moments, such as the aria in the second act, when the young woman, with a sharp attitude, criticizes Licida for the harm he has caused.

In the role of Aminta - Licida's nurse - we find the soprano Eleonora Bellocci, an artist with a sweet and tender voice.

There are also two deep male voices that beautifully complement this group of performers. Baritone Christian Senn portrays King Clistene, delivering his score with determination and delighting us with impeccably executed coloratura passages, supported by a beautiful vocal projection. We find the same qualities in the singing of bass Luigi De Donato as Alcandro, the king's confidant.

The Maghini Choir from Turin (prepared by Elena Camoletto) has brief but charming appearances.

The orchestra is that of the Innsbruck Festival of Early Music, founded in 2018 by conductor Alessandro De Marchi to serve the festival's objectives. With this renowned musician at the helm, the instrumental ensemble (and the entire cast, for that matter), presents Vivaldi's opera with great enthusiasm, fluidity, subtly nuanced dynamics, and stylistic interpretation. We still have two acts to listen to, equally extensive.