Vivaldi in Venedig (Vivaldi in Venice) is a 2013 Swiss documentary film directed by Richard Dindo. The Venice Baroque Orchestra, founded by Andrea Marcon (born in Treviso in 1963), performs religious and secular music composed by Vivaldi at a variety of magnificent places in Venice, illustrated with paintings by Canaletto and photographs of the beautiful Venice.

Vivaldi in Venedig (Vivaldi in Venice) is a 2013 Swiss documentary film directed by Richard Dindo

Vivaldi in Venedig

“The Magnificent Orchestra” Venice Baroque Orchestra, founded and directed by one of the greatest conductors in the world, the Italian Andrea Marcon, the specialist in baroque music, plays for us in Venetian churches and palaces, some of Vivaldi’s most beautiful melodies, all against a backdrop of a number of paintings by the great Canaletto which take us back to the Venice of our 18th-century composer.

The film commentary is supposed to have been written by one of the master’s students who recounts “her memories”, because Vivaldi was for a long time, few people know, a music teacher in a monastery in Venice which was in reality an orphanage. There, he had the obligation to create an orchestra of young women and to have them play music composed by him.

According to witnesses of the time, this orchestra was one of the best in Europe, at least as good as that of the Paris Opera.

The director of the film, Richard Dindo says: “I made this film for pure pleasure and to spend some time in this small town of Venice to get to know it better ‘from the inside’, which is why filming is always very useful.”

Vivaldi in Venedig - The Grand Canal and the Church of the Salute (Canaletto)
Vivaldi in Venedig (Vivaldi in Venice) is a 2013 Swiss documentary film directed by Richard Dindo. The Venice Baroque Orchestra, founded by Andrea Marcon (born in Treviso in 1963), performs religious and secular music composed by Vivaldi at a variety of magnificent places in Venice, illustrated with paintings by Canaletto and photographs of the beautiful Venice. A beautiful painting by the Italian painter Giovanni Antonio Canal (17 or 18 October 1697 – 19 April 1768), better known as Canaletto: “The Grand Canal and the Church of the Salute” (completed in 1730). It is a Rococo (or “Late Baroque”) landscape painting. It measures 151 by 121 centimeters and is currently housed in a private collection. Oil on canvas.

Pieces performed in “Vivaldi in Venedig”

With start times in the movie “Vivaldi in Venedig”:

  1. 00:50: Stabat Mater, RV 621. Soloist (contralto): Sara Mingardo. Written around 1712, it’s a setting of the medieval Latin poem “Stabat Mater Dolorosa,” depicting Mary’s sorrow at Jesus’ crucifixion. This work for alto voice and strings is characterized by its emotional depth and reflective mood. Vivaldi’s interpretation stands out for its expressive melodies and the intimate, somber interplay between the vocal line and the minimalistic instrumental accompaniment, exemplifying his mastery of Baroque religious music.
  2. 08:00: Flute Concerto in G minor, RV 439. Soloist (transverse flute): Michele Favaro. Also known as “La Notte” (The Night), the piece is part of Vivaldi’s “Opus 10” collection. Composed in the early 18th century, this work is renowned for its programmatic content, vividly depicting a restless night. The concerto is structured in six short movements, blending lyrical passages with dramatic, almost eerie, tones, showcasing the flute’s expressive capabilities. Its innovative use of dissonance and rhythm creates a captivating, almost storytelling, musical experience, highlighting Vivaldi’s Baroque compositional brilliance.
  3. 11:15: Violin Concerto in D major, RV 212. Soloist (violin): Gianpiero Zanocco. This is a vibrant and dynamic work from the Baroque era. Part of his vast collection of violin concertos, RV 212 stands out for its lively tempo and brilliant virtuosic passages. The concerto is structured in the traditional fast-slow-fast three-movement format, typical of Vivaldi’s style. It showcases the violin’s agility and expressive range, with the first and third movements characterized by energetic rhythms and the second movement offering a contrast with its lyrical and serene melodies. This piece exemplifies Vivaldi’s mastery in composing for the violin, blending technical prowess with musical depth.
  4. 12:15 Concerto for Two Violins in G major, RV 516. This is a vibrant piece showcasing the interplay between two solo violins. Part of Vivaldi’s extensive violin concerto repertoire, this work is structured in the typical fast-slow-fast three-movement format. Both violins engage in intricate dialogues, trading melodies and harmonies with zest. The first and third movements are lively and rhythmically driven, while the second movement offers a lyrical, serene contrast. This concerto exemplifies Vivaldi’s flair for dramatic composition and melodic inventiveness.
  5. 15:00 The Aria “Gelido in ogni vena” from Farnace (RV 711). Soloist (contralto): Sara Mingardo. “Farnace,” RV 711, is an opera in three acts by Antonio Vivaldi, first performed in 1727. This work is considered one of Vivaldi’s most ambitious operas, known for its dramatic intensity and musical richness. “Farnace” is set in the aftermath of the Roman conquest of Pontus and focuses on the story of King Farnace, his wife Tamiri, and their complex familial and political struggles. The opera is celebrated for its elaborate arias and intricate orchestration, reflecting Vivaldi’s profound understanding of vocal and instrumental capabilities. It stands as a testament to his versatility and skill as a composer, blending emotional depth with Baroque theatricality.
  6. 20:10: Concerto for two cellos in G minor, RV 531. Soloists: Francesco Galigani, Massimo Raccanelli. This piece, unique for featuring two cellos as solo instruments, showcases their rich, sonorous qualities. Structured in the classic three-movement format, it combines energetic outer movements with a deeply expressive, slower middle movement. The interplay between the two cellos is both competitive and complementary, creating a dynamic musical conversation. RV 531 is celebrated for its dramatic contrasts, lyrical beauty, and the innovative spotlight it places on the cello, a less common solo instrument in the Baroque era.
  7. 24:45: Piccolo Concerto in C major, RV 443. Soloist (piccolo): Anna Fusek. Composition Year: 1728-29. Details about the composition and the first performance of this concerto are unknown. The concerto is scored for piccolo, and string orchestra supported by a continuo harpsichord. Vivaldi’s flautino was a recorder, probably the high-pitched sopranino recorder. The piccolo, which is the equivalent member of the family of transverse flutes, only came into existence around 1730.
  1. 30:00: Nulla in mundo pax sincera, RV 630. Soloist (soprano): Alice Borciani. It is a sacred motet composed by Antonio Vivaldi in 1735 to an anonymous Latin text, the title of which may be translated as “In this world, there is no honest peace” or “There is no true peace in this world without bitterness”.
  2. 33:37: Bassoon Concerto in F Major, RV 488. Soloist (bassoon): Giulia Genini. This is one of the many concertos he composed for this often-overlooked instrument. Vivaldi, known for his prolific output, particularly advanced the bassoon’s repertoire with this piece. RV 488 stands out with its joyful and lively character, encapsulated in a three-movement fast-slow-fast structure. The outer movements are marked by brisk, rhythmic melodies, highlighting the bassoon’s agility, while the slower middle movement showcases its lyrical and expressive potential. This concerto is a fine example of Vivaldi’s skill in creating intricate and engaging compositions for a variety of instruments.
  3. 36:10: The aria “Domine Deus Rex Caelestis” from Gloria, RV 589. Soloists: Alice Borciani (soprano), Michele Favaro(oboe). This aria, typically sung by a soprano, stands out for its serene and devotional character. Set against a gentle orchestral background, it features a beautifully expressive vocal line that conveys a sense of divine reverence and awe. The text, praising God as the Lord and heavenly King, is delivered with a blend of simplicity and depth, highlighting Vivaldi’s ability to create spiritually moving music. This aria is a highlight of the “Gloria,” showcasing both vocal virtuosity and emotional depth.
  4. 40:55: The aria “Veni me sequere fide” from Juditha triumphans devicta Holofernis barbarie (Judith triumphant over the barbarians of Holofernes), RV 644. Soloists: Francesco Spandelino (recorder), and Sara Mingardo (contralto). This oratorio, composed in 1716, is Vivaldi’s only surviving sacred dramatic work and is based on the Biblical story of Judith and Holofernes. “Veni me sequere fide,” sung by the character Judith, is a call to follow in faith. The aria is noted for its lyrical beauty and emotional depth, showcasing Vivaldi’s mastery in vocal composition. The music effectively conveys the themes of courage and faith, set against the backdrop of the oratorio’s larger narrative of virtue and triumph over adversity.
  5. 44:48: Concerto for strings in D minor, RV 127. Composition year: 1717, by 1736 at the latest. Movements: Allegro, largo, allegro.
  6. 46:40: The aria “Armatae face” from Juditha triumphans devicta Holofernis barbarie (Judith triumphant over the barbarians of Holofernes), RV 644. Soloist (soprano): Alice Borciani. The aria, which translates to “Armed with torches and with snakes,” is sung by the character Vagaus. It stands out for its powerful and vivid imagery, conveyed through Vivaldi’s dramatic composition. The music is characterized by its strong, rhythmic drive and the use of minor keys, creating a sense of impending battle and tension. This aria showcases Vivaldi’s skill in creating music that vividly paints a scene, reflecting the oratorio’s larger themes of conflict and triumph.
  7. 50:00: Sonata No. 12 in D minor “La Follia“, RV 63 (Sonata for 2 Violin). Soloists: Luca Mares and Giorgio Baldan. A set of variations on the famous “Folia” theme, one of the oldest remembered European musical themes. In 1705, eager to make his mark as a composer of both opera and instrumental music, the young Vivaldi published his first set of twelve trio sonatas as Opus 1. The last sonata, which is a highly virtuosic set of variations on the “La Follia” dance pattern (titled only “Follia” in the print), is one of his most famous works; Vivaldi takes Corelli’s variations on the same theme and bass pattern from Corelli’s Opus 5 (1700), which was already a famous work, and adds figuration of even greater complexity.
  8. 54:25: Lute concerto in D Major, RV 93. Soloist (lute): Ivano Zanenghi. RV 93 is one of the few works by Vivaldi where the lute takes a central role. This concerto is a prime example of Vivaldi’s skill in adapting the stringed instrument’s unique qualities into the concerto form, a form he was very familiar with. His expertise in stringed instruments is evident in the way he crafted the concerto to highlight the lute’s delicate and expressive qualities while maintaining a balance with the accompanying string orchestra. The Lute Concerto in D Major is often transcribed for guitar, an adaptation that became popular in the 20th century. This adaptation has not only brought the piece into the mainstream classical guitar repertoire but has also helped to revitalize interest in Baroque music and historical plucked string instruments.


M. Özgür Nevres

Published by M. Özgür Nevres

I am Özgür Nevres, a software engineer, a former road racing cyclist, and also an amateur musician. I opened to share my favorite music. I also take care of stray cats & dogs. This website's all income goes directly to our furry friends. Please consider supporting me on Patreon, so I can help more animals!

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