Concerti per violino volume 8 - Il Teatro
Naïve's latest violin concerto release in their Vivaldi series, concertos for the theatre, feature a newish ensemble, founded in 2015, Le Concert de la Loge. Leader and soloist Julien Chauvin uses an ensemble that's larger than what's been typical in recent releases: the Loge ensemble uses eight violins in ripieno, two cellos, etc., which still qualifies them as a chamber ensemble, but it more closely resembles period ensembles of a decade or more ago. I'm glad for it here, its seems entirely appropriate to adopt an ensemble size that could resonate within a theatre speace, given the theme to these concertos.
For reference, they record:
- RV 187 in C,
- RV 387 in B minor,
- RV 235 in D minor,
- RV 321 in G minor,
- and RV 366 in B-flat "Il Carbonelli"
Sampling tracks first off, I notice that the sound signature of this recording is not up close, but captures a larger acoustic space: the notes indicate the recording was made in the Galerie dorée, at the Banque de France. I'm unfamiliar with this space used for recordings, but the engineering is not bad; Mr. Chauvin comes across quite clear.
As one point of comparison, Viktoria Mullova has recorded the first concerto, RV 187, with Il Giardino Armonico in 2004; that recording has a more intimate sound, with more clarity across the ensemble. As decent as both recordings are, I prefer the newer one with Chauvin; the tempo is pushed harder, there's more "theatrics" to the sound. They inject more energy into the piece.
A second comparison I'll make is with the concerto, RV 217. Venice Baroque performed the piece in a 2006 recording led by Guliano Carmignola. Again, the sound of the Loge disc is less intimate in sound, but the interpretation, again, I think is preferrable. The VBO for me has never been a top-tier ensemble. Chauvin, for me, is a better interpreter of the solo part, and his ensemble infuses more energy into the orchestral parts.
In the end I have no reservations recommending this new release; it does well to introduce us to a strong new ensemble from France; and if, like me, you have some of these concertos available on other discs, they tend to compete well, even compared against historicaly-informed veterans.
