Melómano
“un hallazgo vivaldiano de primer orden”
A five-star review of the rediscovered Vivaldi recording.
Élus Antiqua
Romina Basso, Ann Hallenberg, I Barocchisti, Diego Fasolis
Physical and Digital Release: 19 June 2026
Diego Fasolis, I Barocchisti and a cast including Romina Basso and Ann Hallenberg bring Vivaldi’s La costanza trionfante degl’amori e de gl’odii to life through its dramatic and vocal contrasts.
18.90€
CD programme · 21 tracks
Track timings as printed in the CD booklet.
Swedish mezzo-soprano Ann Hallenberg regularly appears in major opera houses and festivals, including Teatro alla Scala in Milan, Teatro La Fenice in Venice, Teatro Real in Madrid, Theater an der Wien, Opernhaus Zürich, Opéra National de Paris, Théâtre de La Monnaie in Brussels, Dutch National Opera in Amsterdam, Bayerische Staatsoper in Munich, Staatsoper Berlin, the Salzburg Festival, the Salzburg Whitsun Festival and the Edinburgh Festival.
Her operatic repertoire includes a large number of roles in works by Rossini, Mozart, Gluck, Handel, Vivaldi, Monteverdi, Purcell, Bizet and Massenet, to name but a few.
She is highly sought after as a concert singer and frequently appears in concert halls throughout Europe and North America. She has built an unusually extensive concert repertoire spanning music from early seventeenth-century works to those of the twentieth century. Among her most frequently performed concert works, alongside the Baroque repertoire, are Berlioz’s Les nuits d’été, La damnation de Faust and L’enfance du Christ; Mahler’s Rückert-Lieder, Kindertotenlieder, Das Lied von der Erde and Symphony No. 2; Brahms’s Alto Rhapsody; Haydn’s Arianna a Naxos; Rossini’s Giovanna d’Arco; Beethoven’s Missa solemnis and Symphony No. 9; Elgar’s The Dream of Gerontius; and Schumann’s Szenen aus Goethes Faust.
She has performed with orchestras such as the Berliner Philharmoniker, the Gewandhausorchester Leipzig, the Orchestre de Paris, the Orchestre national de France, the Royal Concertgebouw Orchestra, the Accademia Nazionale di Santa Cecilia, the London Symphony Orchestra, the BBC Symphony Orchestra, the Los Angeles Philharmonic, the Orchestre symphonique de Montréal, the Barcelona Symphony Orchestra, the Russian National Orchestra, the Swedish Radio Symphony Orchestra, the Royal Stockholm Philharmonic Orchestra, the Danish National Symphony Orchestra and the Oslo Philharmonic. She enjoys a particularly close collaboration with the ensembles Les Talens Lyriques, the Orchestre Révolutionnaire et Romantique and Europa Galante.
Ann Hallenberg has worked regularly with conductors including Fabio Biondi, Gianluca Capuano, William Christie, T eodor Currentzis, Sir John Eliot Gardiner, Emmanuelle Haïm, Daniel Harding, Andrea Marcon, Cornelius Meister, Marc Minkowski, Riccardo Muti, Kent Nagano, Sir Roger Norrington, Sir Antonio Pappano, Evelino Pidò and Christophe Rousset.
Recent engagements include the role of Juditha in Vivaldi’s Juditha triumphans in Rome with the Accademia Nazionale di Santa Cecilia; Mahler’s Das Lied von der Erde with the Helsingborg Symphony Orchestra; Dejanira in Handel’s Hercules at the Händel Festival in Karlsruhe; Marie in Berlioz’s L’enfance du Christ with the Tonhalle-Orchester Zürich and in London with the Monteverdi Choir and Orchestras; Haydn’s Arianna a Naxos and Scena di Berenice at the Barbican Centre in London with the Academy of Ancient Music; Mendelssohn’s Symphony No. 2, Lobgesang, with the Berliner Philharmoniker and the Accademia Nazionale di Santa Cecilia; Beethoven’s Missa solemnis in London and Berlin under the baton of Sir John Eliot Gardiner; the title role in Handel’s Ariodante in Ljubljana with Il Pomo d’Oro; Bach’s St John Passion with the Antwerp Symphony Orchestra; Elgar’s The Dream of Gerontius with the Swedish Radio Symphony Orchestra; the title role in Vivaldi’s Griselda at Teatro La Fenice in Venice; the title role in Handel’s Solomon in London, New York, Los Angeles, San Francisco and Madrid with The English Concert; and arias by Handel at Wigmore Hall in London with The Mozartists and Ian Page.
She was appointed Court Singer by the King of Sweden in 2021 and elected a member of the Royal Swedish Academy of Music in 2022.
She has recorded more than 40 CDs and DVDs. At the International Opera Awards in London in May 2016, her solo CD Agrippina won the award for Best Operatic Recital. This marked her second win in the category, having previously received the award in 2014.
Recognised worldwide as one of the foremost interpreters of art music ranging from the Renaissance to the twentieth century, Diego Fasolis has collaborated as a guest conductor with some of the world’s leading ensembles and soloists, including Cecilia Bartoli, Plácido Domingo, Nathalie Stutzmann, Sonya Yoncheva, Max Emanuel Cenčić, and Philippe Jaroussky.
A leading exponent of historically informed performance on period instruments, he is renowned for his philological research, stylistic rigour, versatility, and virtuosity. He has appeared at some of the world’s most prestigious concert seasons and festivals, both as a guest conductor and at the helm of the Coro della Radiotelevisione Svizzera and I Barocchisti.
He completed his studies in Zurich, Paris, Cremona, and Vienna, earning four diplomas with distinction. He began his international career as an organ recitalist, performing complete cycles of works by Bach, Buxtehude, Mozart, Mendelssohn, Franck, and Liszt on several occasions.
Fasolis began working with RSI (Radiotelevisione della Svizzera italiana) in 1986 and became choirmaster in 1993. Three years later, together with his late wife Adriana Brambilla and Duilio Galfetti, and building on the pioneering work of Edwin Loehrer, he founded the period-instrument ensemble I Barocchisti. Through this ensemble, he has made a major contribution to the international concert and recording scene, producing more than 120 award-winning titles. This remarkable body of work has brought Southern Switzerland international renown.
Diego Fasolis has appeared regularly at the Salzburg Festival, Théâtre des Champs-Élysées, Parco della Musica in Rome, Lincoln Center in New York, the Berlin Philharmoniker, and Teatro alla Scala. The renowned Milanese theatre entrusted him with the creation of its orchestra on original instruments. Nikolaus Harnoncourt invited him on several occasions to conduct Beethoven’s Symphony No. 9 at the Musikverein in Vienna with the Concentus Musicus Wien and the Arnold Schoenberg Chor.
He has received numerous distinctions, including the Disc d’Or, the Grand Prix du Disque, the Echo Klassik, the ICMA, the Diapason d’Or, and the Preis der deutschen Schallplattenkritik, as well as several Grammy Award nominations.
In 2013, he founded the Fondazione Adriana pro Musica et Natura in memory of his prematurely deceased wife, with the aim of supporting young musicians and promoting respect for nature.
In 2023, he received the Doron Prize, and in 2024 he was awarded the Forlì Musica Prize on the occasion of the 100th anniversary of the Associazione Amici dell’Arte.
Pope Benedict XVI awarded him an honorary doctorate in recognition of his dedication to the performance of sacred music, in particular the works of Giovanni Pierluigi da Palestrina, known as the Princeps Musicae.
I Barocchisti are internationally acclaimed as one of the leading ensembles dedicated to early music performed on historical instruments. They carry forward the legacy of the Lugano Chamber Music Society, founded by Edwin Loehrer and now led by Diego Fasolis. Over the past decades, I Barocchisti have collaborated closely with the Coro della Radiotelevisione svizzera (RSI) on numerous concerts and recordings, including Bach productions for the ARTS label, widely regarded as definitive.
I Barocchisti have appeared at major music festivals around the world, including in Austria, Belgium, China, Croatia, Denmark, Finland, France, Germany, Italy, Norway, Oman, Portugal, Spain, Sweden, Switzerland, and the United States.
One of the ensemble’s notable recording projects was Mission (DECCA, 2012), a multimedia project devoted to the rediscovery of the music of Agostino Steffani created with mezzo-soprano Cecilia Bartoli. Presented on an extensive European tour, the project won the ECHO Prize in 2013 and was nominated for the 56th Grammy Awards in 2014.
DECCA also released Steffani’s Stabat Mater and the instrumental album Danze e Ouvertures in 2013; both were later included in the exclusive box set The Steffani Project.
In 2014, the recording of Pergolesi’s Stabat Mater (ERATO, 2013), performed with Philippe Jaroussky and Julia Lezhneva, was taken on tour to Amsterdam, Essen, Baden-Baden, and Lucerne. The project was met with great acclaim from both audiences and critics, and received the award for Best Recording of the Year at the 2014 International Classical Music Awards (ICMA).
In 2014–15, I Barocchisti recorded the album St. Petersburg with Cecilia Bartoli for DECCA. This was followed by a highly acclaimed tour with performances in every European capital.
In 2015, they released a new Vivaldi anthology with Maurice Steger (Deutsche Harmonia Mundi), which they performed in concerts in Switzerland and across Europe, including at the Concertgebouw in Amsterdam.
In the operatic field, after making their debut at the Salzburg Whitsun Festival in 2013 and returning in 2014, I Barocchisti appeared once again at both the Whitsun and Summer Festivals in 2015. There they presented a new production of Gluck’s Iphigénie en T auride and a concert performance of Handel’s Semele.
In 2017, the orchestra accompanied the French countertenor Philippe Jaroussky on a European tour, with performances in Versailles, Vienna, Dortmund, Amsterdam, and Zaragoza. They presented their joint recording, the album La Storia di Orfeo (Warner, 2017), devoted to Monteverdi, Rossi, and Sartorio.
During the 2017–18 season, I Barocchisti performed a recital with Lucia Cirillo at the Musikverein in Vienna and also served as orchestra-in-residence at the Théâtre des Champs-Élysées for a production of Gluck’s Orfeo, directed by Robert Carsen.
In September 2018, a collaboration began with LAC Lugano for staged opera productions, including Rossini’s The Barber of Seville and Donizetti’s Anna Bolena. I Barocchisti and the Coro della Radiotelevisione svizzera also perform concerts as part of their own season in Lugano.
In addition, they make recordings for RSI and for other labels and broadcasters, including ARTE, and continue to appear at major festivals and concert series around the world.
Born in Gorizia, Romina Basso studied voice at the B. Marcello Conservatory in Venice and earned a degree in Italian literature from the University of Trieste.
She further refined her training through masterclasses with Peter Maag and Regina Resnik, Rockwell Blake and Claudio Desderi, and Elio Battaglia and Claudio Strudthoff, developing a particular focus on the Baroque and Rossini repertoire.
She performs regularly throughout Europe, appearing at major venues and festivals including the Wiener Konzerthaus; the Concertgebouw in Amsterdam; La Monnaie in Brussels; the Théâtre des Champs-Élysées, the Cité de la Musique and Salle Pleyel in Paris; the Opéra de Montpellier, Opéra de Bordeaux and Opéra de Nîmes; the Barbican Centre and Queen Elizabeth Hall in London; the Edinburgh Festival; the Glyndebourne Opera Festival; the Teatro Real and Auditorio Nacional in Madrid; Tchaikovsky Hall in Moscow; the Via Stellae Festival in Santiago de Compostela; the Lucerne Festival; the Mainzer MusikSommer Festival; La Folle Journée in Nantes; the Festival d’Avignon; the Beaune Festival; the Festival of Early Music in Utrecht; the Festival van Vlaanderen in Bruges; the Misteria Paschalia and Opera Rara festivals in Kraków; the Philharmonie in Bratislava; as well as in Warsaw and St Petersburg, at the Potsdam Musikfestspiele Sanssouci, the Kuhmo Chamber Music Festival in Finland, and at the Megaron and the Onassis Foundation in Athens.
Beyond Europe, she has appeared in the United States at the Lincoln Center in New York, Teatro Colón in Buenos Aires, and in Japan (T okyo, Kyoto and Osaka), Korea, and Australia (Melbourne).
She has collaborated with numerous orchestras and ensembles, including Accademia Bizantina, I Barocchisti, Concerto Italiano, Il Complesso Barocco, Cappella della Pietà de’Turchini, Le Concert des Nations, Capella Cracoviensis, Europa Galante, Ensemble 415, Ensemble Matheus, Latinitas Nostra, Les Arts Florissants, Les Musiciens du Louvre, The King’s Consort, Modo Antiquo, the Münchner Rundfunkorchester, the RSO Vienna Radio Symphony Orchestra, Ricercar Consort, the Orchestra of the Age of Enlightenment, the Orchestra dell’Accademia Nazionale di Santa Cecilia, ORT, the Venice Baroque Orchestra and Zefiro.
She has worked with many distinguished conductors from both the modern and Baroque traditions, including Peter Maag, Marcello Viotti, Sir Charles Mackerras, Vladimir Jurowski, Kazushi Ono, Jordi Savall, Frans Brüggen, Alan Curtis, Rinaldo Alessandrini, Fabio Biondi, Marc Minkowski, William Christie, Paul McCreesh, Emmanuelle Haïm, Jean-Christophe Spinosi, Ottavio Dantone, Philippe Pierlot, Chiara Banchini, Diego Fasolis, Andrea Marcon, Robert King, Antonio Florio, Daniele Gatti and Gabriele Ferro.
Her discography includes releases for Kikko Classic, Bongiovanni, Mirare and Fuga & Ricercar (Porpora: Notturni per i defunti); for Deutsche Grammophon, Vivaldi’s Motezuma and Handel’s Tolomeo; for Naïve, Vivaldi’s Atenaide, New Discoveries, Armida, L’Olimpiade, Orlando furioso (1714), Catone in Utica, Dorilla in Tempe, and Lamento, a solo album devoted to seventeenth-century repertoire; for Glossa, Handel’s Italian Cantatas, Volumes 4 and 5; for Classic Voice, Handel’s Vespro Carmelitano; for FraBernardo, Veracini’s Adriano in Siria; for EMI/Virgin, Vivaldi’s Ercole sul T ermodonte, L’Oracolo in Messenia and Handel’s Berenice; Giulio Cesare for MDG and Naïve; the sacred music of Galuppi and Jommelli and Mitologia by Handel for Sony / Deutsche Harmonia Mundi; Voces de Sefarad for Brilliant Classics; Scarlatti’s Carlo, re d’Alemagna for Agogique; and Baroque Divas and Pergolesi’s Adriano in Siria for Decca.
Antonio Vivaldi: (b Venice, 4 March 1678; d Vienna, 27/8 July 1741). Italian composer. The most original and influential Italian composer of his generation, he laid the foundations for the mature Baroque concerto. His contributions to musical style, violin technique and the practice of orchestration were substantial, and he was a pioneer of orchestral programme music.
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At the close of 1715, while much of Europe remained unsettled by the aftershocks of war and political upheaval, Venice pursued its own immutable vocation with undiminished fervour: opera. Untroubled by distant conflicts and recent dynastic ruptures, the Serenissima devoted its energies to the meticulous preparation of its autumn and carnival seasons, reaffirming its status as the pre-eminent operatic capital of the age. In this world where spectacle, music and social ritual merged into a single theatrical continuum, Antonio Vivaldi stood at the very centre of attention. At thirty-seven years…
At the close of 1715, while much of Europe remained unsettled by the aftershocks of war and political upheaval, Venice pursued its own immutable vocation with undiminished fervour: opera. Untroubled by distant conflicts and recent dynastic ruptures, the Serenissima devoted its energies to the meticulous preparation of its autumn and carnival seasons, reaffirming its status as the pre-eminent operatic capital of the age. In this world where spectacle, music and social ritual merged into a single theatrical continuum, Antonio Vivaldi stood at the very centre of attention.
At thirty-seven years of age, Vivaldi enjoyed a moment of exceptional artistic and public success. His instrumental music circulated widely across Europe, admired and emulated for its unprecedented vitality, formal clarity and imaginative orchestration. Collections such as L’estro armonico and La stravaganza had secured his reputation as a composer of striking originality, while his virtuosity as a violinist continued to astonish contemporaries. At the same time, his long-standing association with the Ospedale della Pietà confirmed his authority within Venetian musical life, both as a pedagogue and as a composer of sacred works of remarkable expressive power. Yet it was above all in the operatic theatre that Vivaldi sought to assert himself most forcefully.
Operating largely outside the patrician strongholds of Venetian opera, Vivaldi had established a distinctive profile as both composer and impresario, closely associated with the Teatro Sant’Angelo. There, amid limited material resources but considerable artistic freedom, he cultivated a new kind of operatic language, one that privileged dramatic intensity, instrumental colour and melodic invention over inherited conventions. By the end of 1715, however, his ambitions extended further. The reopening of the Teatro San Moisè, a modest yet historically prestigious venue near St Mark’s Square, offered an ideal opportunity to challenge the dominance of the powerful Grimani family and their Teatro San Giovanni Grisostomo.
The return of San Moisè to the operatic circuit was the result of astute management and favourable circumstances. Under the guidance of Alvise Giustinian and his impresarios, Pietro Denzio and Giovanni Orsatto, San Moisè embraced a model already proven successful at Sant’Angelo: reduced spectacle, innovative dramaturgy, young and relatively unknown singers, and a keen focus on musical novelty. In this context, the choice of Vivaldi as the theatre’s principal composer was both bold and strategic.
The opera La costanza trionfante degl’amori e degl’odii, first performed in January 1716, proved to be the cornerstone of this enterprise. Set to a libretto by Antonio Marchi, a poet distinguished by his ironic self-awareness and pragmatic understanding of theatrical effectiveness, the work combined dramatic clarity with a rich palette of emotional contrasts. Marchi’s text, rooted in earlier seventeenth-century models yet shaped to contemporary tastes, offered a fluid succession of scenes, an emphasis on the aria da capo, and a skilful deployment of disguises, reversals and allegorical resonances. Beneath its historical subject matter lay transparent allusions to current political anxieties, allowing Venetian audiences to recognise their own world reflected in the struggles of ancient rulers.
Central to the opera’s success was the carefully assembled cast. Largely composed of singers new to Venetian audiences, the ensemble exemplified the impresarios’ willingness to invest in emerging talent. Several performers would go on to distinguished international careers, their fortunes launched by the visibility afforded by La costanza trionfante. Vivaldi tailored his music to their specific abilities, producing vocal writing that balanced expressive immediacy with technical challenge, and revealing a keen sensitivity to individual timbre and dramatic characterisation.
Yet it was Vivaldi’s music itself that ultimately secured the opera’s triumph. Although only a substantial portion of the arias has survived, these fragments suffice to demonstrate the originality and sophistication of his theatrical style at this stage of his career. The score displays an extraordinary command of instrumental colour, with imaginative orchestral textures used not as mere ornament but as integral components of the drama. From delicate pictorial effects, such as muted strings and pizzicato passages evoking intimacy or tenderness, to electrifying arias of fury propelled by rhythmic drive and harmonic boldness, Vivaldi’s writing captures a wide emotional spectrum with striking immediacy.
Equally significant is the composer’s treatment of form and harmony. While remaining within the conventions of early eighteenth-century opera, Vivaldi stretches those conventions from within, manipulating formal structures to mirror psychological states and employing daring harmonic progressions to heighten expressive tension. His ability to fuse melodic memorability with rhythmic propulsion lends his music an irresistible vitality, ensuring its immediate appeal to contemporary audiences while laying the groundwork for later developments in operatic style.
The impact of La costanza trionfante extended well beyond its initial Venetian success. The opera was revived repeatedly in revised forms, often under the title Artabano, re de’ Parti, adapting to new casts and contexts while preserving its essential dramatic core. Performances in Vicenza, Mantua and Hamburg testify to the work’s adaptability and to the international circulation of Vivaldi’s operatic music. In Hamburg, the opera underwent a remarkable transformation, combining Italian arias with German recitatives and additional music by other composers, a hybrid form characteristic of the city’s eclectic theatrical culture. These adaptations, while altering the work’s surface, ensured the preservation of significant portions of its musical substance.
Further revivals in Prague and Mantua, often under the supervision or indirect influence of singers and impresarios closely associated with Vivaldi, attest to the lasting appeal of the opera and to its role in disseminating the composer’s style across Europe. Even in its later incarnations, including a final Venetian pasticcio assembled in 1731, La costanza trionfante retained its symbolic significance as a marker of Vivaldi’s earlier ascendancy and as a testament to his resilience in the face of changing fashions.
Viewed in retrospect, La costanza trionfante occupies a pivotal position in Vivaldi’s operatic output. It represents both the culmination of his early experiments and a decisive step towards the fully developed theatrical language of his maturity. At a moment when Venetian opera stood at a crossroads between inherited traditions and emerging stylistic currents, Vivaldi offered a compelling alternative, grounded in personal invention and dramatic immediacy rather than institutional authority. For several years, he embodied what might be called a distinctly Venetian modernity, asserting the expressive power of music shaped by individual imagination rather than by convention alone.
The story of La costanza trionfante is thus inseparable from the broader narrative of Venetian opera in the early eighteenth century: a world of intense rivalry, entrepreneurial daring and artistic experimentation, in which success depended as much on adaptability as on genius. In that vibrant milieu, Vivaldi’s achievement stands out not merely as a fleeting triumph, but as a defining contribution to the evolution of operatic art.
Frédéric Delamea
Selected awards, reviews and interviews. Radio broadcasts and podcasts are listed separately below.
Melómano
“un hallazgo vivaldiano de primer orden”
A five-star review of the rediscovered Vivaldi recording.
Pizzicato
“Both soloists are at their very best in their alternating roles”
Vivaldi mit Gefühl — a review of the vocal performances and I Barocchisti’s playing.
Music Voice
“un autentico evento discografico”
An extensive historical, interpretative and recorded-sound assessment.
Interlude
Love, Death, and a Lost Opera — a feature on the work and its rediscovery.
Explore the coverage ↗ - InterludePreis der deutschen Schallplattenkritik
La costanza trionfante was nominated in the Opera I category of the German Record Critics’ Award longlist 4/2026, published on 5 October 2026.
View the official nominations ↗ - Preis der deutschen SchallplattenkritikMusicMap
An exceptionally enthusiastic assessment of I Barocchisti and Diego Fasolis, praising the recording's theatrical vitality, instrumental detail and expressive vocal characterisation.
Read the review ↗ - MusicMapForum Opéra
“une heureuse découverte, qui réjouira tous ses auditeurs.”
An assessment of the surviving music, the singers and Diego Fasolis’s direction.
Opera
Print review.
Gramophone
Vickers compares the Fasolis and Sardelli reconstructions. He singles out Ann Hallenberg’s ornamentation and Romina Basso’s finesse, while finding Sardelli’s reconstruction and artistic direction more persuasive overall.
RONDO
“wunderbar inspirierte Vivaldi-Vokalmusik”
A comparison of two approaches to the surviving opera, with particular praise for the two soloists.
Online Merker
“Das einem Rezital ähnliche Album bietet vokale Wonnen sondergleichen.”
A review of the surviving opera fragments and the performances by Basso, Hallenberg and I Barocchisti.
About Art Online
“Un Cd di notevole importanza storico/musicale”
A consideration of the recording’s historical significance and musical interpretation.
OperaTeatro
“una lettura smagliante”
Vivaldi avvampa tra amori e odi. A favourable assessment of the recording’s theatrical vitality, Fasolis’s direction and the complementary vocal approaches of Romina Basso and Ann Hallenberg.
OpusKlassiek
A detailed critical assessment of the reconstruction and performances, including reservations about dramatic continuity and interpretative choices.
Diapason
The June 2026 issue contains Roger-Claude Travers’s comparison of the Fasolis and Sardelli recordings. Diapason’s official issue preview confirms this coverage; it does not disclose the complete assessment or rating.
Scherzo
“la de Fasolis sobresale por su cohesión, por la calidad del elenco vocal”
A substantial comparison of the Fasolis and Sardelli editions, discussing sources, reconstruction, vocal casting and interpretation. Bolzan considers the two recordings complementary.
MusicPaper
“delineando con finezza di tocco alcune geniali sottigliezze del compositore veneziano.”
A review of the recovered music, the editorial documentation and the dramatic character of Fasolis’s interpretation.
Utah Theatre Arts Journal
“This recording is a treasure for anyone interested in early music or specifically the music of Vivaldi.”
Published by Utah Theatre Bloggers, this review considers the recording, its research and documentation, and the contrasting qualities of the two soloists.
Музыкальная жизнь · Musical Life
A critical review praising Romina Basso and I Barocchisti, while expressing reservations about the emotional range of Ann Hallenberg’s interpretation. The article places the release within the continuing rediscovery of Vivaldi.
Musica
Print review.
Mostly Classic
A positive Japanese review welcoming the revival of Vivaldi’s surviving opera music. It praises the virtuoso arias sung by Romina Basso and Ann Hallenberg and finds I Barocchisti and Diego Fasolis’s orchestral playing moving. Print edition, November 2026, no. 354, p. 94.
LF CLASSIC
A Japanese-language adaptation of Claudio Bolzan’s Scherzo comparison of the Fasolis and Sardelli recordings, explicitly crediting Scherzo as its source. Additional international circulation of the existing review, rather than a separate independent assessment.
Explore the coverage ↗ - LF CLASSICDa Capo
A presentation of the surviving music, the recording and its accompanying documentation.
Explore the coverage ↗ - Da CapoDeArtes
Coverage based on the release’s press materials.
Explore the coverage ↗ - DeArtesBresciaoggi
“ottime voci di mezzosoprano”
Praise for Romina Basso and Ann Hallenberg in the surviving arias from Vivaldi’s opera, performed with I Barocchisti and Diego Fasolis. Published in the newspaper’s classical record column.
Broadcasts, conversations and listening features dedicated to this recording.
Radio Clásica 103.3 FM
The recording featured in the programme dedicated to Da Vinci releases.
Explore the coverage ↗ - Radio Clásica 103.3 FMRSI Rete Due
Diego Fasolis presents the recording in the programme’s concluding segment.
Explore the coverage ↗ - RSI Rete DueRadio România Muzical
A broadcast presentation and critical commentary, included in the station’s Discurile anului 2026 project.
Explore the coverage ↗ - Radio România MuzicalVenice Classic Radio
A dedicated episode exploring the recording and Vivaldi’s operatic writing.
Explore the coverage ↗ - Venice Classic RadioRai Radio 3 · Primo Movimento
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