Vivaldi, Griselda, Marie-Nicole Lemieux, Verónica Cangemi, Simone Kermes, Ensemble Matheus, Jean-Christophe Spinosi (2006)
A. Scarlatti, Griselda, D. Röschmann, L. Zazzo, V. Cangemi, B. Fink, Akademie für Alte Musik Berlin, R. Jacobs (2003)
This ecclesiastic, who was an excellent performer on the violin and an indifferent composer, had trained and instructed in singing Miss Giraud [Girò], a young singer, born at Venice, but the daughter of a French hairdresser. She was not pretty, but graceful; her shape was elegant, her eyes and hair were beautiful, and her mouth charming; she had very little voice, but a great deal of action. She was to represent the character of Griselda.After much futzing around to find the libretto, Vivaldi points out to Goldoni a scene between Gualtiero and Griselda. In Zeno's libretto the scene ended with a sad text for a slow aria, but Anna Girò
is not fond of languishing songs; she wishes something expressive and full of agitation, an expression of the passions by different means, by words interrupted, for example, by sighs, with action and motion; I don't know whether you understand me?" -- "Yes, sir, I understand you perfectly well; besides, I have had the honor of hearing Miss Giraud, and I know that her voice is not very powerful." -- "What, sir, do you mean to insult my student? She is good at everything, she can sing anything." -- "Yes, sir, you are right; give me the book, and allow me to proceed." -- "No, sir, I cannot part with it, I am in want of it, and am pressed for time."
Heidi Waleson, The Tests of Patience (Wall Street Journal, July 19)
Eva Dameron, Opera director and East-L.A. painter talk art philosphy, work (New Mexico Daily Lobo, July 18)
James M. Keller, SFO premiere of Vivaldi's 'Griselda' misfires (Santa Fe New Mexican, July 17)
Brian Holt, Everything's Gone Green (Out West Arts, July 17)
Kyle MacMillan, Baroque opera finds a new stage in Colorado and beyond (Denver Post, July 10)
Taking Girò's place in the title role in Santa Fe will be contralto Meredith Arwady, whose dark, viscous voice we have admired before, while Paul Groves will take the tenor role of Gualtiero (sung originally by Gregorio Balbi). Their daughter, Costanza (created by soprano Margherita Giacomazzi) is sung by Isabel Leonard, while the role of Corrado (created by another soprano, Elisabetta Gasparini) will be sung by countertenor Yuriy Mynenko. The two castrato roles will be sung by countertenor David Daniels (Roberto, created by Gaetano Valletta) and soprano Amanda Majeski (Ottone, created by Lorenzo Saletti). Grant Gershon will conduct, and the staging reunites director Peter Sellars and artist/set designer Gronk.