And the music is, still more of the technology, the true added artistic value of the operation. It isn’t obvious: because Cristian Carrara selected twenty fragments from various Vivaldi’s operas of every genres – all in benchmark editions, from Fabio Biondi to Francesco Maria Sardelli to Philippe Jaroussky – by sewing them with new music in three pieces, one for room, for 35 minutes seamlessly, to whom the pictures work like a “visual column”. A really refined operation, like a changing rendering that, on the basis of Berio’s teaching and of the Vivaldi Recomposed of Max Richter, merges and at the same time keeps identifiable ancient and contemporary.

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